It's content with being simply silly when it could have been so much more. Still, Doin' It will make you laugh out loud throughout its runtime, and Lilly Singh shows that she has what it takes to succeed on the big screen.

The vibe of Him is trying to make the audience unnerved, but the story and imagery being presented are too goofy to take this attempt seriously.

The Lost Bus may not reach the heights of some of Greengrass' finest work, but that's a high bar to reach. Thanks to some immersive setpieces, grounded performances, and stellar direction, the latest film from Apple TV+ rises above its shortcomings, resulting in a gripping docudrama that is worthy of your time.

Drifting between heartfelt dramedy and broad comedy, Driver’s Ed doesn’t always blend the two with enough finesse.

Anderson has executed an unbelievably rare feat: a big-budget studio action film that maintains his specific tone and style, with a film that feels essential to our troubled modern times.

If a movie is going to give us a man reuniting with his dad and them coming to love each other, then it needs to give them the freedom to really hash it out and explore the consequences of their estrangement. Looking Through Water only skims the surface.

Varley's talents as a director are evident for the first half at least, but after that, The Astronaut becomes a head-scratcher.

Fuze has the bones of a great idea, and one that does seem like a great fit for Mackenzie, given his past work. But Hopkins’ script is too generic an action exercise, from its bland plot to its nothing characters, that it’s hard to find anything to truly care about.

Steve is an adequate film about teachers, students, and the struggles that they both go through, but it’s also hard not to think that a bit more insight into the lives of the students earlier on — particularly from the perspective of Shy — could’ve made this into something even more special.

Glenrothan is cloying at times, but more often, irritating in its presentation of a story we’ve seen so many times before, done poorly.

A Big Bold Beautiful Journey tries to be too big and too bold, when it’s the smaller moments in which this film becomes a beautiful journey.

McAvoy creates a story of ambition, prejudice, and performance that gives Scotland’s underdog spirit its due. It isn’t a flawless directorial debut and stumbles in places, but it plays like an anthem for outsiders with a dream.

With a flair for the surreal and fantastical, it’s easy to see how Fuller’s feature debut could become a cult favorite just like his shows have.

Edward Berger's latest is all style and no substance, despite giving Colin Farrell a weird role to sink his teeth into.

An intriguing formal experiment from Steven Soderbergh, focused on two solid performances by Sir Ian McKellen and Michaela Coel.

Poetic License is one of the smartest, most heartfelt films of the year. It never tries too hard, is sentimental without being gooey, and is brilliantly anchored by an ensemble that makes the movie truly sparkle. If this is what Apatow is delivering with her first film, we can’t wait to see what she does next.

Quite frankly, it never hurts for a film to preach the dangers of Nazis and how they can be anywhere and everywhere, but it is a bit of a shame Nuremberg isn’t finding a more compelling, enticing way to tell this inherently fascinating true story.

A short runtime kills any character development and tension.

The Grand Finale tries to bring some weightiness back into this world, and, for the most part, it works with a fitting conclusion to this universe.

Whimsical in concept but hollow in execution, Eternal Return drifts aimlessly despite Naomi Scott's glow.

Rainn Wilson gives one of his best performances in this compelling action comedy.

Sure, there is a subplot or two that feels a bit uncooked, but it’s easy to forgive because the movie is brisk and wickedly fun. Like its affable hero, Normal is impossible to ignore and proof that when Odenkirk takes on an action role, things are anything but normal.

Rental Family’s intent is to create a satisfying, touching, and ultimately emotional film with sweet performances and quiet drama, and that’s exactly what it delivers.

As a ridiculous tale of a celebrity trying to make himself matter, Sacrifice is quite a bit of fun, but any attempt to make a larger point falls flat, just like so many films before it.

John Candy: I Like Me is a beautiful love letter to the comedian.

Riz Ahmed's fiery turn and a bold South Asian lens make this Hamlet compelling, even if uneven.

The Choral offers a unique look at WWI, while struggling to maintain balance between its compelling lead and somewhat lackluster storytelling with its other subplots.

No Other Choice is yet another great film from Park, and one of the best dark comedies you'll see this year.