For all the ways the film holds us at a bit at a distance, the performances do wonders in closing this gap.

It's far from perfect, but the production design of the film and the strong backbone of actors make Cobweb an entertaining film, though not a must-see.

You're a Big Boy Now fits in with the sort of rebellious, youthful films that were popular during the final years of the rebellious decade in which it was released, but probably isn't an essential watch for anyone other than the filmmaker's most devoted fans.

Is it a bit baggy and less amusingly chaotic than past entries? Absolutely. However, Bell's return as this character is still grimly fun when he's given room to let loose. Even as time isn't always on his side, he makes the most of nearly every moment.

Even though the flaws in Last Dance are glaringly obvious—not only is this the worst of the Magic Mike franchise, it’s also clunky in a way Soderbergh films rarely are—it’s still hard to not get caught up in the celebration of it all.

A Little Prayer is often a fairly still story, but it all builds to a beautiful moment between Bill and Tammy, where we get to see the true impact of MacLachlan's tale hit the audience in full force.

Its greatest strength lies in its simplicity, but that might also be where it falls flat for some.

As a whole, Arquette's directorial effort is fun, but forgettable. Despite pulling out laughs from viewers here and there or Dafoe and Morrone's impeccable deliveries, the plot doesn't quite stay with you.

When it embraces an eerie and enigmatic tone that subsequently gets turned on its head, Significant Other still boldly proves to be a film worth getting lost in.

Vampire movies, which often incorporate a love story, are usually driven by the threat of discovery. The absence of that in Bones and All, despite leaving evidence all over the Great Plains, makes it a beautiful-looking movie that becomes too devoted to repeating the same note. There is no “all,” just bones.

For some, this film could miss the mark; for others, it could be exactly the comfort viewing that's needed, but overall, Marry Me merits more of a "sure, okay" in response rather than a resounding yes.

Landscape with Invisible Hand is certainly a mixed bag that isn’t nearly as tight as Finley’s previous work, but the bold attempt to make something so unique and singular makes this wild story ultimately work.

It’s the refreshingly modern and tender depiction of intimacy and pleasure that will stay with me. After years upon years of sex scenes that are steeped in the male gaze or are shoehorned in to attract the money of horny youngsters who have no real interest in the story, it’s about time we treat sex with the tenderness, openness, and grace that it deserves on film — and this is exactly what Lady Chatterley’s Lover does.

Charles Laughton hams it up wonderfully in a villainous role, and Jamaica Inn is enough of an oddity to make it strangely engaging throughout much of its runtime.

Cronenberg still is one of the most intriguing horror filmmakers working today, and when Infinity Pool is working, it's unlike anything that you've ever seen. But when comparing Cronenberg's approaches in this to something like Possessor, it becomes clear that it's better when there's a method to Cronenberg’s madness.

While the free-flowing structure of Spin Me Round works in bits and pieces, there’s very little overall purpose to the narrative Baena and Brie have crafted here.

While it is important for the film to immerse itself in the emotional struggles of the scenes, it also is hindered by some occasionally abrupt edits and anarchic writing that dulls the sharpness of its story.

It is by no means a perfectly constructed work, but there is something more immense in its thematic aspiration that provides plenty for Pugh to play around with. All that makes it unwieldy also makes The Wonder mesmerizing so that, even when the spell is broken, you can’t shake it from your mind.

For all its many structural flaws that could doom a lesser work, it manages to break free when it counts. Though Hunt won’t become a paragon of action cinema, the moments where it lets loose still pack plenty of potent hits.

Down Low is an ambitious journey through sex work, repressed sexuality, accidental murder, the fragility of life, and an oddly tender exploration of the age-old question: can you still be a good person if you do bad things?

The key to what makes this newest retelling work is the combination of Ferrell and Reynolds, both of whom are able to play to their comedic strengths, while also having the opportunity to do some solid dramatic work as well. This duo is delightful, and as they work together on Christmas Eve, it’s wonderful to watch how this relationship shifts.

Theater of Thought could've easily become a straightforward documentary about the evolution of thought and the fascinating science behind our brains, yet in the hands of Herzog, this topic becomes far more entertaining, as he approaches the topic with a wide-eyed wonder that lets this subject go down smooth.

80 for Brady is not the new golden standard of sports comedies, but it was clearly never trying to be. It's cute, silly, and light, all things that a comfort movie should be.

With Phyllis Nagy at the helm, Call Jane had all the potential in the world to be something revolutionary, but it ultimately chose to take the path of least resistance. It leans into a very glossy feel-good “girl power” energy, ensuring that its audience never once feels true discomfort when discussing uncomfortable truths.

Like so many of Frears’ films, The Lost King works because of the compelling cast on hand.

Schrader is able to prune back some of his more established impulses to service this particular story.

There’s no sugarcoating Cobweb’s flaws, from pacing to convoluted editing. Yet, the movie does have the potential to become a crowd-pleaser, as it does deliver the scares. It might not be a particularly memorable horror film, but it’s still entertaining, and sometimes that’s all the reason we need to go to theaters.

Don’t Worry Darling is best as a surface-level matinée thriller with a few follow-up ahas. But it doesn’t sting like it should in the end.