Barely seen or even heard of since it was made, this “lost” Romero film doesn’t disappoint, and even though it’s not technically a horror film, it will scare you into spending any and all free time tending to anyone over 70 for fear of karmic retribution.

In something as herky-jerky and convoluted as The Gentlemen, the viewer has enough to worry about keeping the whole story straight without dreading the next tone-deaf thing to come out of an esteemed character actor’s mouth.

The mood and atmosphere is appropriately unsettling, and the stellar cast never stops trying to elevate the material, all of which makes it even more upsetting to watch as it slowly unravels and botches the landing.

Weathering With You’s remarkable animation and delightful characters come together for the perfect storm of creativity, inspiration, and romance. Yet, for all its exploration of the supernatural, the film carries such a profound universal feeling. Sure, it’s another solid love story, but it’s the film’s messages of hope and of keeping one’s head up in the rain that will endure.

At 100 minutes, with just enough digital chutzpah to keep everyone reasonably amused and never quite annoyed, Dolittle is tolerably fine.

Bad Boys for Life thrives from stellar action filmmaking and could be an affecting closer to an action film trilogy, even if there are moments that feel like an attempt to build a cinematic universe of sorts (including a misguided post-credits tag).

Underwater is a solid creature feature that isn’t afraid to acknowledge its sub-genre predecessors. Kristen Stewart shines amidst a mostly likable cast, anchoring a film that moves at a relatively brisk clip, particularly in its bombastic opening and closing sequences.

Sadly, The Grudge is an underwhelming entry in the long dormant franchise. This cursed production — delayed from release last year — hardly feels worth the wait, and is certainly not worth the price of admission.

VFW delivers the goods—tough-guy dialogue, memorable characters, and so much splatter— and audiences will be giddy as adolescents as the gore literally explodes on screen.

While the cabin seemingly offers a rural respite, the endless snow and the situational horror of it all adds agoraphobic washes to any space. Couple that with captivating uses of grey and silver — seriously, the gradient factor in those two colors here is awe-inspiring by itself — and the dread becomes suffocating.

Little Women is made with so much love and enthusiasm — both behind and in front of the camera — that even the deeply sad scenes still fill you with joy and longing. It’s an explosion of emotions, from loss to love to everything in between.

A tightly constructed narrative, which examines the role of forgiveness,The Two Popes is a lowkey buddy comedy that simply follows two actors at the top of their game.

It’s hard not to see the parallels between A Hidden Life‘s setting and the modern-day world in which it’s released. In an era where nationalism reigns high, and people’s loyalties are questioned when they refuse to defer to a leader they cannot support, its abstractions feel universal enough to graft onto the world stage of 2019.

As an adaptation, Cats is declawed, never delving fully into the possibilities offered by its proportion-manipulating trick photography and its animated cast. As a big-budget spectacle, it’s a triumphant disaster, if one at least born from a unique idea.

It’s a breakneck conclusion to what’s been a breakneck restart.

Bombshell is at its best when it’s an amusing behind-the-scenes look at Fox News and how the entire operation is setup to enrage your parents. But the film’s at its worst when it’s trying to tell a story of empowering women via problematic real-life figures.

The real horrors of campus assaults should be examined, and horror makes for a perfect vehicle for that discussion. Yet this remake’s ambitions are too lofty for its own good. The messaging forgoes finesse and grace in favor of blatant lecturing, cramming patriarchy, rape culture, toxic masculinity, and white male rage all in an unsatisfying Christmas horror package.

While Howard Ratner is undeniably Adam Sandler, one of the most famous actors in the world, you’ve definitely never seen him like this before. He’s working with non-actors, some of them literally off the street because this is a Safdies production, and there’s just a sense of authenticity and rawness that you don’t see in mainstream cinema.

Make no mistake, this is a film made for frivolous consumption with car chases, swooping crane shots, cheesy one-liners, and crass humor. Sure, there’s some political commentary lurking underneath, but it’s not particularly savvy.

As a political or journalistic statement, Richard Jewell does have the unfortunate tendency to come across like a rant. But that does not greatly detract from the film’s rich biography of Jewell: Here’s a man that was perhaps doomed to be part of an inquisition.

The Next Level just feels like more of the same, and some of its bigger swings might just even border on the irresponsible. As kids’ fare goes, this series remains weird enough to not totally write it off. But for the next version, they might have to work out some of the bugs.

It’s probably best to view the film as a cypher, an opener of questions, with the red dress at its center a door to whatever might lie outside daily routine, however violent that passage might be.

Daniel Isn’t Real is exploitation that eschews the trashier elements of the genre. As a director, Mortimer frames a great shot and pulls gangbusters performances out of Robbins and Schwarzenegger. It’s minded, but also massively entertaining genre cinema.

The long-shot is hardly a novelty — as it so often tends to be wielded in Hollywood — but a point of view — a feeling even. And rarely, if ever, has that style been so affecting and executed so beautifully.

Queen & Slim is a traditional road movie with decidedly untraditional inclinations, a romance framed against stark realities. But it’s equally a political act, a film whose very existence demands questions about the ways stories like it are typically told, from whose perspective, and perhaps most valuably of all, for what audience.

On the surface, we get a rough-and-tumble action film from the bygone era that serves up the middle-of-the-road divergences that play into a larger scheme of police corruption. However, the plotting gets tripped up by too many self-imposed obstacles that cause this otherwise breezy romp to feel weighted down by its own design.

While the film’s intentions are noble, and its story worth retelling, it struggles throughout to lend a lasting weight to its straightforward plotting.

This version of Lady and the Tramp actually lacks the thematic complexity of its ’50s inspiration.