Carell, Chalamet and their supporting players can only spit-shine a relatively rote addiction story so much; by the time the thrill of their work passes, it’s easy to find oneself waiting for more.

The original cast brings plenty of spark, with Ryder ably carrying the film’s emotional arc and Keaton glorying in getting to be this goofy.

Perhaps the most satisfying thing about the film is what comes after, when you stop to realize how darkly comic and sickly fun the film was after you’re done reeling from all the impaling and dismemberment.

Despite Pazienza’s own pitfalls and perils, the film never registers as anything more than a boilerplate boxing drama, which is a shame because the material is all there, it’s just hamstrung by a flimsy screenplay that refuses to let its characters exist on their own.

If you’re looking for a heartwarming, affirming doc about how yes, you’re right to love Alanis Morissette, it’ll probably work for you. But don’t expect to learn anything new, or be wowed by its presentation.

It’s the awkward tween of gay coming-of-age movies: earnest and confident, but more than a little clumsy.

But there’s something surprising about its approach to both blockbuster filmmaking and Ryan Reynolds star vehicles. It’s at once a Deadpool riff and the absolute opposite, a violent video game movie that’s about how fighting isn’t actually the answer. And what’s more, it commits to those lofty aspirations, couching a sweet little love story in the CG-addled mayhem of a Ryan Reynolds action-adventure flick.

Sandberg finds much of his terror in the tension that exists between light and shadow, an unsurprising discovery considering his previous film hinged on the two. They’re used much more effectively here, however.

Eight for Silver works best as an atmospheric period werewolf film with outstanding gore effects and creature design. Working against the film, however, is Ellis’ padded screenplay chock full of rote characters, drawn-out human conflict, and an ill-advised flashback structure that rips apart its final act.

Writer/director Josh Baena (Life After Beth) bookends Joshy with dark moments, and while the first works perfectly, the second threatens to unravel everything that comes before.

The King is perfectly alright if you’re looking for a large-scale epic with dozens of extras and fine performances.

Between its structure, its worldview, and its anti-heroine, Destroyer is almost impossible to ignore. Love it or hate it, it will still leave an impression and it will undoubtedly inspire discussion.

Franco exercises so much restraint, especially during the frenetic final act, that you’re always left on edge. There’s hardly a single gratuitous shot to the entire film.

Calibrating a horror-comedy requires intense precision, since the director has to keep the tension alive while also bringing in just the right level of over-the-top gore and mayhem to inspire laughs, not screams. I’d estimate that a good 95% of The Monkey is totally dialed in, especially when it comes to finding a level of gore that plays as hilariously disturbing.

This is punishing filmmaking, both in its sense of overwhelming despair and in its all-too-physical violence, but what sets Apostle apart from being an especially well-shot exploitation feature is its interest in the ideals behind the violence we perform on one another.

To be clear, Dragon is not the worst live-action remake this year — congrats to Snow White on holding onto that prize. It’s just a slightly distorted copy of what came before. Its best attributes are fully a credit to the original, while its worst qualities all come from the foolishness of adapting a movie that was just fine the way it was.

For all its gorgeous visuals, comforting score, and strong non-verbal performances, there’s just not quite enough there at the script level to make Land‘s broader points, well, land.

The heart is ultimately stirred, and the eyes often pleased, by this new White Fang.

It’s odd to see Elliott in a performance that involves him appearing so adrift, but the actor mines Lee’s insecurities for a naked honesty that makes his arguments and apologies alike ring with a lifetime of remorse.

PVT CHAT is a thoroughly modern romantic comedy exploring isolation and loneliness that is equally inspired by Paul Schraeder’s American Gigolo as it is The Apartment. . . Hozie and Fox bring an unparalleled sexiness and authenticity to the kink sequences, an especially impressive feat given that the majority of them take place through computer screens.

Everything is always loud, from the music to the visual design to the emotions. It's an approach ensuring that Cameron's message will be heard by even the most distracted viewer.

For a film designed to spawn ancilliary products and sequels, Pets is not entirely without its charms

Babylon slowly builds up its wackadoo cartoon version of Hollywood to tear it down at its foundation.

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.

As Stefan might say, this movie’s got everything (you’d expect from a Sundance movie): A period coming-of-age story inspired by the filmmaker’s own life, broader political themes, known stars like Linney and Harrelson playing eccentric characters, and a weepy conclusion.

The film is relatively sparing in how it depicts said atrocity, but the horror of it still comes through, while never distracting from the delicate bond that emerges between Jacqueline and Callie (Alia Shawkat), another ex-pat working as a tour guide through the ruins.

While it flirts with some exciting and original concepts, The Map of Tiny Perfect Things is plagued with an uninspired story, flat characters, and a pair of romantic leads that have zero chemistry. It’s not overtly offensive, but it’s certainly the kind of movie we won’t remember two time-loops from now.

John and the Hole is more of a collection of memorably uncomfortable scenes as opposed to a cohesive (w)hole.