It is just as chaotic, caught between peril and hope, as our reality. The ugliness and the potential of humanity are rarely this captivating.

Samuel Van Grinsven’s ambient and meandering ghost story is undoubtedly a haunting concept with committed performances and effective elements, but the film just can’t help but overstay its welcome.

Finally Dawn can be commended as a homage to Italian cinema and its effort to cater to an international stage, but it stumbles on its ability to follow through on its promises, leaving us a mesmerizing world that ultimately rings hollow.

Sutherland truly is the star here, and he holds the movie in the palm of his hand. Between the self-deprecating humor and the 110% effort he puts into a silly British Christmas movie, he creates a really friendly and inviting vibe that just radiates off the screen.

As we’ve seen from Arrested Development and Succession, rich people belittling each other over their petty grievances as they lust for real power is incredibly entertaining, but House of Gucci never seems entirely sure how seriously it should take its characters. It should have just followed Leto’s lead and been a blast.

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.

With Pugh and Garfield leading this tremendous love story, We Live in Time becomes one of the best movie romances in years, and proves that few filmmakers can present the power of love quite like Crowley can.

The Immortal Man, while obvious at times, also gives you everything you could want in a Peaky Blinders movie. There's angst, there's violence, there's sex, explosions, and swagger.

Carter may remain quite lousy, but with Krumholtz at the helm, this film is anything but.

Sometimes, Deshon’s obsessive attention to detail drains some of the fun from Daughter, and the movie might burn too slowly to please every horror fan. Still, the movie is a rare achievement, turning a small budget and a simple story into a cinematic experience we can unravel to find new things over multiple viewings.

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

All you need to do is open your mind to its wonders and you may too discover something about yourself along the way.

Even with its many narrative flaws, The Silent Twins gives us an insight into not just the lives of the two sisters but the way they made sense of it through stories of their own.

Through its dynamic direction, clever script, and stellar, largely Canadian cast, Humane has earned a place in the longstanding genre of ecological thrillers. It's a fun, bloody reminder not only of how far people will go to save themselves, but to always bring pepper spray to an unexpected family dinner.

Everybody who worked on Green and Gold brought their A-game and made what could have been your run-of-the-mill drama into a truly sublime movie.

Terrifier 2 is best when it does what we are here to see: big, bloody murder. But the attempt at a story is just atrocious. Terrifier 2 tries to be bigger and better than its predecessor when really, we just wanted more of the same.

Lawrence flexes her comedy muscles in both her dialogue and physical comedy, taking some bold swings with some of the things she does on screen, and it pays off extremely well.

Springsteen: Deliver Me From Nowhere can’t shake what we know about the biopic, but it does at least create some moments and provide some decent performances that make the audience forget about those clichés, at least temporarily.

It may not reinvent the wheel for tightly-knit actioners, but Fight or Flight still sticks the landing for a crowd-pleasing and chaotic thrill ride.

The Gutter demands that you’re on its wavelength, but once you’re there, it’s like continual machine gun fire the way jokes and sight gags fly off the screen.

The Napa Boys, written by Corirossi and Armen Weitzman, is a ludicrous concept that quickly throws you into its style of comedy and doesn’t hold your hand.

The film is funny but also manages to be a smart comedy that feeds off its dramatic moments for a story that shines thanks to the depth of sisterly love.

While it’s a cozy and enjoyable enough watch with decent performances, Good Grief is too middling to be memorable, sticking to an overly sentimental tone despite its best moments having more edge and bite to them.

The Drama is a film that will stick in your mind long after you’ve left the theater.

Even with Fiennes and Chastain giving it their all in a manner that makes the story far more engaging than you would expect, they can’t carry it all on their own. The most ambitious and audacious performances in the world can’t overcome storytelling that is otherwise safe to the point of being timid.

So while the familiarity is felt throughout, it's hard not to cheer, chuckle, and cringe at all the chaotic mayhem that unfolds in Nobody 2. It's not trying to be anything other than an ultra-violent late summer action flick, and if you go in expecting to watch some gnarly kills, brutal fist-fights, and gun-fu, you'd have to think pretty hard to feel disappointed.

I hope that someone else decides to tell the story of Kim's Video again one day, because Kim's Video by Redmon and Sabin is incomplete, and a little too self-obsessed to do such an interesting story justice.

Despite how transgressive and inventive Dalí was as an acclaimed artist, Dalíland is content to create a story that plays it all too safe.