The truth is that by the film's final moments, the audience will likely leave their viewing experience with a headache and a bitter aftertaste from all the melodrama.

Unfortunately, We Kill Them All doesn't know how to escalate its story beyond its initial premise, fumbling to make this concept work once it has been laid out. While the movie seems to that that less is more, the weaknesses of the film prove that isn't the case with this film.

The predictable story would be forgivable if Bad Shabbos' execution of this darkly comedic crime caper had a truly excellent execution.

This wonderfully personal story is filled to the brim with a seemingly endless reservoir of laughs and tears. It's an experience that won't just have you liking Bob Trevino Likes It, it will have you loving it.

A fun, high-octane action movie about a chase against time through a fascinating city.

The emotional core of the story relies strongly on the performances of Cholbi, Falé, and Gueneau, who turn in wonderful performances that don't need loud outbursts or explosive arguments.

Twilight of the Warriors: Walled In is still a more than competent, entertaining, action-packed ride, even if it's not the most original in terms of its plot.

Alarum is a genuine disappointment, putting a set of strong performers (who do quite well in action-heavy projects) in a situation that could produce memorable, excellent action scenes. It needs extra shine in the script and a stronger directorial vision to do so, which essentially damns the film to action thriller purgatory.

One of Them Days might not necessarily be a great comedy, but it’s absolutely the type of comedy we should see more of in theaters nowadays. Palmer and SZA are a delight, and Lamont and Singleton’s work elevates what could be just a silly comedy into something more.

Most people are likely clicking on this film for Foxx and Diaz, and they, too, do their best with what they’re given, but the dull, exposition-heavy script never gives them the chance to flex any of their dramatic muscles, and they rarely get to be truly funny either.

Offering a fresh take on a legendary folk hero, William Tell’s solid cast and engaging battle sequences will keep viewers hooked. Easy to overlook its faults with impressive sequences, performances and sharp cinematography, the film is an appreciated one for its throwback feel.

To its credit, there are some decent gore scenes, and the practical makeup is done well, but not enough to distract from some pretty laughable special effects. Compared to the original and even the 2010 version that won the Oscar for Best Makeup, Whannell’s version isn’t breaking any new ground.

There's certainly good here, but it's hard not to wish certain key moments were allowed to thrive.

The idea is good, but in practice The Prosecutor doesn't fully feel like a legal drama, nor does it feel like a martial arts film. It's a decent film with strong direction, but laden with regrettable missed opportunities.

Gudegast's film feels almost artificially programmed in its adherence to criminal caper tropes, unable to steal our hearts with the bromantic charms of cops and robbers with boundary issues.

It sits in your chest like a cough you can’t get rid of, and there’s promise in its bones of what might come next for the Aussie directorial duo.

The easy winner out of Armand is Renate Reinsve. . . The runner-up is Halfdan Ullmann Tøndel. While his methods for bringing this story to life are a bit overly perplexing and too head-scratching, there is a clear talent for filmmaking on display here that makes his career one to watch with great and serious interest.

From Ground Zero is important because it puts the spotlight on an issue far more important than making movies.

Instead of exploring a twisted version of a magical realm, this pseudo-trip to Neverland keeps things stuck in the real world that the kids of these stories are usually trying to escape.

Its relatable story is what really makes Sacramento a film that's worth revisiting again and again for its charming fable about the price of friendship and fatherhood.

Its genuinely difficult to think of a better feature debut in recent memory than How to Make Millions Before Grandma Dies.

The main central path brings with it a rewarding story that boasts the risks and payoffs of falling in love. The other thinner side paths on this road, unfortunately, frequently lead to dead ends despite being ripe for genuine expansion.

Altogether, The Fire Inside is a strong directorial debut for Rachel Morrison, boasting excellent performances from Ryan Destiny and Brian Tyree Henry.

Even the most jaded may be swayed by Perry’s latest demonstration of his skills at making movies that work simply but that also simply work.

Horror is beautiful. Horror is dark. Go searching for it and the possibilities of what to watch are endless. In Search of Darkness: 1990–1994 captures it all.

Despite one electric scene that makes the rest of the film feel more risible, Modi, Three Days on the Wing of Madness is a plodding, pretentious mess that is easily one of the worst productions of the year.

While Carax’s cinema may not be to everyone’s taste, this primer on both his philosophy and his aesthetic is as effective as anything he’s ever directed. Brilliant in its concision, even the most jarring of elements never overstay their welcome, making this perhaps the purest and most honest chapter in his entire filmography.

Jim Carrey is the real star of this trilogy. Carrey's signature brand of improvisational comedy serves him well once again here, as his gleefully cartoonish villain continues to be a highlight of his recent acting works.