From a talented cast in Léa Seydoux, Louis Garrel, Vincent Lindon, and Raphaël Quenard to an initial willingness to be ruthless in tearing apart the messy art of moviemaking, it could have been something truly great. nstead, just when you think this movie about making movies is starting to get somewhere interesting, it reveals itself to be only a sporadically funny satire with a surprising lack of teeth.

Lazareth is sluggish, low-energy, and not particularly suspenseful, but most of all, it squanders a stellar Ashley Judd performance in a period where her silver screen appearances are becoming scarcer and scarcer.

The performances are all giving the necessary punch even when the writing is not. It may frequently get lost in its own narrative woods, but Bana manages once again to bring it all back to humanity.

It wants you to buy into the heart and the humor without earning either.

There is much about it that remains imperfect, especially in terms of some of the broad character beats that it begins with, but it proves to be proper fun once it gets going.

[Bartholomew] gives us insights into her character more naturally than some of the occasionally forced dialogue, showing us glimpses of her increasingly fractured mind through an embodied performance. Even when the film doesn’t fully capture the spirit, the spell she casts gets awfully close.

Kingdom of the Planet of the Apes explores the past while creating a new future, starting this fresh angle on the series to a rocky, but promising start.

If you haven’t feasted on Indonesia’s bounty of recent horror releases, don’t start here. Dancing Village: The Curse Begins is like elevator music in comparison.

Prom Dates mostly blends into the countless other films that cover the same subject matter, but there are a few moments here and there that elevate it to something more. While the characters are thinly drawn and their arcs underbaked, the comedy is there for the most part.

It isn’t the worst shark movie out there, but that’s not saying much. By the time we get to the “big final confrontation,” it loses a handle on what it was going for.

Seinfeld has made a directorial debut that ends up feeling like a bowl of sugary cereal: not a terrible thing to eat, but not as fulfilling or substantial as you might’ve hoped it would be.

Mars Express finds deeper truths that are as tragic as they are transcendent. This makes it a sci-fi tapestry not just worth getting lost in, but one that is deeply human as well. What a painful joy it is.

Tarot is a pretty forgettable horror movie. Dull characters, a basic plot, and very little to say with its themes render it a fairly unmemorable experience.

The Contestant is riveting, but it stops short of the type of analysis that would take it to the next level.

It's enjoyable, sexy, and features a romance worth rooting for — because the only red flag here is the public's reaction to their relationship.

Regardless of its slight fallbacks, Turtles All the Way Down tells a moving story about a teenager's isolating struggle with mental illness, and her resolve to build a life for herself despite it.

Cora Bora is a bit of a surprise first leading role for Stalter as it's a comedy that’s soaked in heartache, trauma, and self-discovery. It’s a vehicle that proves she can not only make us laugh, but make us feel some feelings, too.

Even as it comes awfully close to overstaying its welcome just a bit, much like the spiders in the home of the characters, it very quickly grows on you.

Breathe is empty bluster and nothing more. It’s like a vacuum of where a movie should be, sucking all the air out of the room until nothing is left.

Though the ending is somewhat disappointing and less dynamic than everything that preceded it, this can’t take away all that the film still has going for it.

It is grimly funny at times, though no less terrifying because of it. Everything compliments itself as we observe the beautiful forest being made into a hunting ground where there is nowhere you are safe for long.

When watching The Feeling That The Time For Doing Something Has Passed, the brilliant comedy from writer-director Joanna Arnow in which she also stars, both comedy and tragedy are expertly wielded in her hands.

There is no other horror film you’ll see this year as incessantly cruel and mean-spirited as The Coffee Table. This is both a compliment and a criticism, as, while the film is plenty committed to twisting the knife into its audience, it can also be rather repetitive before rushing to the finish.

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.

Even when it can risk falling into being a little repetitive and dulling its impact, it will swerve in just the right way to keep you on your toes.

Spy x Family: Code White is a fun journey with the familiar characters of the series though doesn't add much of anything new.

Not only does neither part of Rebel Moon work, but The Scargiver is such a downgrade that it could prove difficult for the franchise to bounce back for more.

The Ministry of Ungentlemanly Warfare is a wild ride and one of Guy Ritchie’s better recent films even as its characters prove to be rather thin.