It’s a sophisticated commentary wrapped up in a beer-soaked package and is sure to linger with you long after the credits roll.

The Graduates is a compelling drama with incredible performances across the board and confident direction.

Director David Jařab fails to capture the same enthralling energy of Conrad's original story, resulting in an experimental film that too often misses the mark.

It’s rare to feel the tension built inside a theater to the point where everyone is holding their breath, but Red Room is a unique movie that defies expectations and keeps pulling the audience deeper into the dark abysm of human nature.

Citizen Saint treats the sensitive subject with the subtlety it deserves. While some of the answers the movie proposes might be uncomfortable, it still shines for never falling prey to oversimplifications.

Insidious: The Red Door might not be the scariest installment in the franchise, but it feels a lot more human than the others before it. The character moments end up feeling more effective than some of the film's big set-pieces and, while that may bug some genre purists, those who have stuck around since the first film released over 10 years ago will be pleased.

The Out-Laws has a workable premise with a great star-studded cast led by a sincere DeVine and is funny with great potential outside its humor. But it never hits the mark and only works in pieces due to recycled ideas and formulaic tropes across clichéd writing.

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

That it holds together is a testament to the cast who it feels like are battling against clumsy escalations that go bigger and louder when the quieter moments carry with them a far more tactful deployment of emotion.

Bursting with laughter and heart, Joy Ride is not only chock-full of ribald comedy, but it's a wholesome story about friendship which is what grounds these types of movies.

Dead Reckoning Part One is plenty of fun, and one of the best action films of the summer by far, but coming five years after Fallout, it’s hard for this seventh film to not feel like a bit of a disappointment.

Cohen carries the reverence she feels for her subjects into Every Body, which insightfully raises awareness about intersex individuals even though some of its creative choices prove distracting.

Alberdi reminds us of the essential beauty of personal connection, and it elevates The Eternal Memory from a memoir to a glimpse into what the best humanity has to offer even in times of hopelessness or crisis.

While fans of Cox and Beckinsale‘s work might still enjoy some moments of Prisoner’s Daughter, the overall lack of polish in the script makes for a dull experience that’s filled with inconsistencies.

The characters are consistently charming, the humor sufficiently silly, and the animation often beautiful, though the standard path it takes holds it back from fully exploring the potential lurking just beneath the surface. When it all bursts free towards the end is when the film is at its best.

There are layers of complexity in both Wright’s performance and that of the late Williams which elevate the experience, making for a sturdy enough riff on the Western that still could have been so much more.

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.

Whatever one takes away from it, the final moment of melancholy it taps into is crossed with the joy of seeing a film free itself by eschewing our expectations to just be. It may leave some feeling adrift as a result, but the truth of its emotional experience would demand nothing less.

The film is lovingly put together and expertly crafted, making for a gorgeous tribute to Lee.

A true dramedy, it’s as raw and painful as it is refreshing and cathartic. Though nothing is tied up in a neat little bow at the end, you’re left with an undeniable feeling of hopefulness. You’re sure to laugh, and there’s a good chance you’ll shed a few tears, too.

There are several interesting ideas and stories floating around Eric LaRue, but Shannon can’t seem to decide which ones to focus on. While there are some genuinely fantastic, inspired moments, they frustratingly never quite come together, leading to a baffling viewing experience. Hopefully, Greer will get another chance in the spotlight of a more worthy film.

With eye-popping animation, a fresh story that challenges tropes, and an energetic voice performance by Chloë Grace Moretz as the titular character, Nimona is nothing less than a triumph.

Even as not all the jokes land, the rare experience of getting to take in a spoof comedy like this makes it worthwhile all the same.

Extraction 2 feels like a glossier and more by-the-numbers extension of the first movie. By giving Rake, their Sad Action Hero, something more to fight for, the filmmakers accidentally stripped the character of what made him so compelling in the first place.

It feels stuck in a strange, bland limbo, unsure of what it wants to lean into and truly be. For a movie all about identities, this film lacks one.

There’s a lot to like about The Listener, with Thompson’s performance easily being the highlight. It’s a simple yet powerful story of finding connection and hope through the dark times.

For me, it’s the film to beat this year, easily taking the crown as my favorite scary movie of the last several years — even if all the scares come from the idea of what might happen when your closest friends turn on you.

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