Though possibly well-intentioned, the execution of The Covenant ensures its narrative and thematic potential is drowned out in the roar of gunfire it becomes far too enamored by.

It’s a film that doesn’t feel the pressure of reminding the audience that it’s a comedy, which makes the story and the dysfunctional—but very loving—family that much more endearing and authentic to real life.

Beau Is Afraid is bold, enthralling, and unlike anything you've ever seen before. Whether that's a good or bad thing, well, Aster leaves how we enter this shrieking void up to the viewer.

Evil Dead Rise's scares and gore are so effective, and its cast so committed to the story, that it's easy to be completely enthralled by Cronin's movie.

River is a poetic argument made potent.

Power Rangers: Once & Always doesn’t make the same mistake as the 2017 feature film Power Rangers, which took itself way too seriously when it didn’t need to. At the same time, the special is too aware that it should be a little serious, which prevents viewers from having fun with the truly campy moments that, although rare, fire up the screen when they pop.

With Oliver Garcia’s exquisite costumes and Karen Murphy’s production design, both brought alive to their full potential by Jess Hall’s stunning cinematography, Chevalier is not just a compelling story, it’s a visually compelling one too.

When all the dust settles, The Last Kingdom: Seven Kings Must Die is a flawed yet fitting finale that serves as a send-off to Uhtred of Bebbanburg and the bloody life he did everything to find a way clear of.

The film tries to pack in so much subplot and religious context that it leaves no time to build up a scare properly. The only people who would actually be scared by this movie are about five years too young to legally see it.

There is never a sense that Collette is phoning it in, but the entire narrative around her is just too flimsy to hold together for a full feature. In isolation, there are some solid gags and throwaway jokes that connect. The trouble is that they are just increasingly few and far between. It all makes for a film that oddly feels like it is playing it safe, relying on the charisma of its lead and offering little else beyond that.

In a world of so much noise, it is Reichardt’s Showing Up that proves to be present and powerful in its accumulation of small moments that come together into something spectacular.

One True Loves ultimately tackles the idea of what it means to grow and change through both the best and the worst life can hand a person, told through performances that get to the heart of the script, and direction that supports without overwhelming.

There’s no way to hide the lack of substance in We Bought a Zoo, making it hard to justify returning to this decade-old film.

Paint is an odd attempt to make a comedy while also doing the least amount to make that comedy actually funny.

The Super Mario Bros. Movie captures the spirit of the games, the deep history, and the incredible possibilities that these games have presented for decades, all in one of the most fun animated films in years, with a team behind it that you can feel loves these characters and this world.

Of course, Gardner’s documentary will please horror fans above anyone else. Still, Living with Chucky is a thoughtful study of how filmmaking, especially independent filmmaking, brings people together.

Affleck makes Air look easy, a director who knows exactly what he’s doing, and knows how to build anticipation, work our excitement, and tell a story about a shoe that is truly enthralling and gripping.

It’s open enough to be perceived as a character study, a horror story, or something different altogether. But what is indisputable is the movie’s excellent use of wide shots and close-ups, the gorgeous production design and cinematography, and Woodvine’s quiet but compelling performance.

Director McKay seems to understand that special balance between terror and camp, and it’s that which makes Renfield, which premiered this week at the Overlook Film Festival, such a delight to watch.

Prom Pact is the perfect choice of flick for you to watch when you’re in the mood for something light and fun. It has an excellent cast, the jokes come easily and never feel forced, and the story is a true celebration of friendship and how you should always do your best to not let your people down – and work hard to apologize if you do. John Hughes would be proud.

When it then shifts into being about the case itself with the characters trying to get to the bottom of it all, the humor feels like it is mostly coasting off of the chemistry of Sandler and Aniston. This can hold things together for a while as both bounce off each other effectively, but the film soon is revealed to just be a recycling of jokes the first film already did better.

Whether you're an uninformed novice or an established fan, Dungeons & Dragons: Honor Among Thieves serves up enough unabashed silliness, memorable characters, and epic storytelling to invite anyone into its entertaining realm.

Led by two solid performances by Pugh and Freeman, A Good Person shows growth from Braff as both a writer and director, as he attempts to push himself into a more mature story that we’re used to from him.

On paper, Late Bloomers may not be a revolutionary tale, but its execution makes it a clear standout within this specific sub-genre of nihilistic millennial dread.

Some might criticize Tancred’s approach to this mystery, which meanders, goes on tangents, and follows several red herrings over the course of its two hours. Yet it’s precisely that free-flowing style that makes Last Stop Larrimah so unique.

National Anthem may at times feel a bit too simple, but the craftsmanship and the core performances are enough to make it worth a watch.

The young cast helps elevate the comedy, but sadly the deeper conversations and relationships between the characters are never truly fleshed out.

When Late Night with the Devil casts off the tenuous bindings it is using to hold back chaos, it arrives at something more frightfully fun.