A Part of You is touching and effective without ever veering into emotionally manipulative or exploitative territory, which is not an easy feat when you’re dealing with this subject matter, especially in this genre

Though it assembles some of the right ingredients before laying them out before you, it never proceeds to arrange them in any particularly interesting or entertaining way.

It doesn’t deliver a knockout like some of Miike’s other films, but it still manages to beat all it has working against it into submission. One can only hope it manages to beat the odds again and find the audience it deserves.

Bad Boys: Ride or Die might explore too many plotlines or bolt between too many characters, but brains-free enjoyment reigns supreme.

Backspot is a film that, missteps aside, is elevated by a great performance by Devery Jacobs and a terrific ending.

Jim Henson Idea Man is an adoring look at this remarkable man that never slips into hagiography, yet, it’s a documentary that will only make you appreciate the multitudes that made Henson who he was.

Young Woman and the Sea puts its own twist on the inspirational sports movie, with a powerful turn from Daisy Ridley.

Oh, Canada is a more reflective work from Paul Schrader with plenty on its mind that still falls short of his best works.

Bionic is another sci-fi dud for Netflix, bringing nothing new to the genre and not much more to its action sequences.

It's a remarkable, revolutionary work of art. As precisely focused and tightly constructed as it is expansive in its aspirations, it’s a rallying cry for the irreplaceable value of artistic expression in a world that will repress it at all costs.

The Apprentice is a film that delves into the figures who shaped Trump’s worldview while never becoming a hall pass for the bad behavior of men like him.

While hardcore fans won't learn anything they didn't already know, 'The Beach Boys' documentary is a perfectly entertaining love-letter to the SoCal band.

It’s moderately entertaining thanks to its VFX but falls short on its performances and story as the overall idea exceeds the final product.

Crowder’s documentary could have just felt like another puff piece and, in some ways, it can be. However, the movie always feels completely genuine and told from the heart.

The Garfield Movie is silly to a fault, feels seventeen hours long, and lacks any pulse of life.

Coralie Fargeat’s The Substance is a film whose style might get in the way of the substance, but it still ensures the filmmaker will have a legion of new horror fans waiting for what she does next.

Anora is Sean Baker's most searing and shattering film yet with a breakout performance from Mikey Madison.

It lacks the electricity of his past works but, as we come to see, the lifelessness of it all, is, in many regards, the point of the whole thing. It's about carrying on when nothing makes sense.

A lot is going on all at once, but little of it coheres into anything substantive, let alone actually memorable or meaningful.

Sadly, Nightwatch: Demons Are Forever is another example of a sequel that exists just to reminisce on what came before without doing much new until it's nearly too late.

Bird ultimately reads as Arnold “playing the hits” with a narrative she fundamentally knows how to stage in her sleep. Ultimately it feels too familiar, even with the welcome magical realism additions and a hallucinogenic slime secreting toad. Arnold fans will no doubt find plenty to latch onto with Bird, but it’s unlikely to convert non-believers.

The creatively (and morally) bankrupt and downright offensive biopic glosses over Amy Winehouse’s complicated, and ultimately, tragic life to shine a more flattering light on her father and ex-husband, distorting the real-life events in her life to tell its own narrative.

Babes succeeds as a comedy with enough primetime laughs — that’s (typically) what happens when hilarious comedians join forces — but never fully jells into a balanced experience between prenatal jokes and dead-serious subplots.

Gasoline Rainbow blurs the line between documentary and narrative filmmaking to create a road trip movie unlike you’ve ever seen before.

Much as he’s done in the past, this film dissects the casual cruelty of love and relationships through a combination of the filmmaker’s distinct sense of dark humor that occasionally flirts with something closer to a more strange sociological horror.

Much like the city being built in the film, it’s all more interesting in theory than it ever is in actuality. Now that we will all have the chance to take it in for ourselves, the greatest revelation is that there just isn’t that much there to see.

For now, stick with the original.