After a decade away, Jeunet has returned to embrace all of his worst eccentricities to create an absurd mess.

In the end, the movie is about a delusional guy who doesn't realize he's been indoctrinated, but it is also an emotional exploration of loyalty, camaraderie, and stubbornness.

There are few filmmakers that can make the leap from smaller, insular stories into large-scale epics, but with The Northman, Eggers has proved that his style and substance can remain intact, regardless of the size of the story.

The Unbearable Weight of Massive Talent—even when it doesn’t entirely work—shows the dedication and greatness of Cage, the impressive breadth of his career, and proves that Cage is, indeed, back. Not that he went anywhere.

It’s truly impressive that Fowler has found a way to integrate the wild world and characters of the Sonic the Hedgehog games into the real world in a way that actually works, but it’s a shame that it comes at the expense of the story of friendship that made the first Sonic the Hedgehog film so charming.

All The Old Knives attempts to convince its audiences that it is a tawdry game of chess, but in reality, it’s a game of checkers. Pine and Newton are its saving grace, with their performances elevating it just above the waters of drowning in its own self-importance.

It’s not that Mothering Sunday is a bad film, it’s far from it, but it never reaches the echelons of true greatness that it should have been able to achieve with such a who’s who cast.

Metal Lords ends just when it feels like it’s finding its footing, with its characters taking too much time to address their flaws, leaving the music and the bonds that have been formed via the music, on the back burner for too long.

Not all of Arnold’s usual tricks work effectively in Cow, but for a first documentary, Cow is an engrossing and surprisingly emotional look at the farming industry through the eyes of a single bovine.

I Love You Dad has its heart in the right place with its cringey narrative and story of how much forgiveness those who love us truly deserve.

While the free-flowing structure of Spin Me Round works in bits and pieces, there’s very little overall purpose to the narrative Baena and Brie have crafted here.

This Much I Know to Be True might not dig as deep into the lives of Cave and Ellis as one might hope for a film billed as a documentary, but the performances captured here more than make up for that.

West has made an extraordinary tale of the personal universes we all inhabit, the strange messiness of life, and the beauty of how everything all shakes out in the end.

Until the Wheels Fall Off could’ve maybe explored Hawk’s personal life with a bit more focus, but Jones still creates a captivating, edge-of-your-seat documentary that manages to make the idea of landing a trick a genuinely moving scenario.

Plemons, Collins, and Segel elevate this basic story beyond more than just a generic noir homage, but it’ll likely leave the audience like Nobody: willing to accept less when they should be asking for more.

In the end, The Cow ends up a collection of tonal blunders and performances that are too big for this smaller-scale thriller.

For some, this film could miss the mark; for others, it could be exactly the comfort viewing that's needed, but overall, Marry Me merits more of a "sure, okay" in response rather than a resounding yes.

By cutting back and simply sticking to the thrills and the madness of this situation and little else, Bay has made one of his best films in decades.

The Bubble feels like the least personal film Apatow has directed so far, a film that seems like more of an excuse to just do something during the pandemic, instead of Apatow having something to say.

Apollo 10½ can at times feel like the greatest hits of Linklater and what made him who he is, but that’s a welcome change, and a reminder of his strengths as a filmmaker.

Although it may not necessarily invent the wheel of filmmaking, it accomplishes just about everything else it sets out to do in the vein of simply being a fun popcorn flick, as well as treating all the genre spheres it falls into with an encouraging level of respect, albeit with the occasional gentle tongue-in-cheek joke.

Daniels explores the hopelessness of depression, the little miracles that truly make life worthwhile, how acts of kindness can be an extraordinary asset, and—most fitting to this film—how it’s OK to be a mess.

Even as it eventually loses steam on the way towards a rushed conclusion, the film’s prevailing charm and characters shine through such struggles.

The central problem of Morbius is a lazy and uninspiring script. No weight or depth is given to any character. There’s little humor and when it tries to make a tongue-in-cheek joke, it fails miserably.

There is never a moment when you're swept away by the romance of Walt and Sophie and that should be the point of all of this.

Beyond some decent performances that aren’t done justice by this script, and some fairly wild leaps into horror, Forbidden Fruits isn’t ripe, it’s just rotten.

It doesn’t coast on its set-up, Skarsgård’s presence, or the taboos it approaches. It handles all these and then some, combining a compelling coming-of-age story, an endearing comedy, and a sex-positive odd romance into one of the best films of the year.

Nice Days doesn't execute its emotional or comedic beats with the same enthusiasm, but the pulverizations are still bountiful — there's plenty of bruised and bloody aggression to save the day.