Simon Rex gives a virtuoso performance.

Though he’s been accused of re-carving the same dollhouse-scale miniatures over and over again, The French Dispatch finds Anderson continuing to fill out his increasingly elaborate skill set.

The results are deeply, charmingly dumb, especially the extended focus on the tete-a-tete between our tic-heavy underdog and his murderous companion.

Fukunaga’s direction is crisp and assured, if occasionally languid, and the script creaks under the weight of its myriad responsibilities to both its star and franchise. But it hits where it counts, and sets up a new chapter for the saga, a blank slate upon which the creatives that come next can paint a new vision for 007.

Coen’s version of Macbeth is a canny, fascinating hybrid of a theatrical sensibility and a cinematic translation, shot in ghostly monochrome.

Sopranos superfans will find plenty to love about the prequel film.

More than a concert doc and less than an artist profile, Oasis Knebworth 1996 hits that sweet spot of giving misty-eyed Oasis fans what they want: A glimmering look back at one pleasant weekend and the life-changing music that defined it.

One of Eastwood's most pleasing character studies since Million Dollar Baby.

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 doubtful that die-hard Kenny haters will come away with a new understanding of or appreciation for the man. But for those curious about where he came from and those who want to consider why his beloved status rubs so many people the wrong way, there’s a lot to like.

Anyone who has a heart for 1960s London and its cultural output will find something to appreciate in this sleek and stylish love letter to the era. Anyone who likes either of the types of films that Last Night in Soho is trying to be will probably find something worth watching in it, too. Few will get any proper satisfaction from it, though.

It’s genuinely funny at times, but at two hours, it drags on for far too long, and Chastain suffers from having to hold up too much of the film’s weight on her thickly padded shoulders. It’s a killer performance looking for a movie to support it, and it’s just not here.

Winstead may be a bonafide action hero, but the world around her just isn't interesting enough.

Sacha Jenkins' doc is a warts-and-all examination of the funk-punk superstar, refusing to editorialize his sins and successes."

Candyman pays homage to the original, while still maintaining its uniqueness with a fresh and provocative plot

What the doc explores [is] the divide between the personal and business halves of Bob Ross, and which one should be allowed to occupy his legacy. Is he a face on a logo that sells increasingly kitschy merch of the man? Or is he the father of a son who loves him and wants to determine how he's remembered?

If Shang-Chi is the best MCU introduction since GotG, it’s also the best standalone adventure since Black Panther. There’s a storytelling maturity that demonstrates Marvel is still willing to go back to basics — even as it gets more fantastical. It’s also a visual feast, with some of the most outlandish SFX scenes in any MCU entry.

When Joy lets us peek in these tiny, intriguing corners of her speculative world, Reminiscence comes alive the most. Otherwise, the rest of it fades like a memory you’d just as soon forget.

All of the events of Respect are to be expected. No new truths about the Queen of Soul are unearthed. But the film itself is well-crafted, and each performance brings storied characters to life.

There’s murder, exploitation, and cunnilingus galore. What more do you expect from a collaboration between Leos “Holy Motors” Carax and Sparks?

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.

Gunn keeps throwing enough inventive kills and comic-book antics at us (aided by the wildly disparate skills sets of our antiheroes) to keep the R-rated mayhem from getting too repetitive.

David Lowery deconstructs the hero's journey with this sumptuous dark fantasy.

Old, for its part, is quintessential Shyamalan of The Happening mold, a slick, amped-up B movie that hardly ever gives away that it’s in on the joke.

While the Fyre Festival was infamous for its crowded venue, poor infrastructure, and slowly devolving sense of social order, Woodstock '99 feels like the OG version of that kind of entertainment trainwreck.

Sarnoski’s debut is a scintillating tone poem about the inextricable links between love, creativity, and commerce, and what happens when the latter encroaches too much upon the former.

As a reintroduction to the cinematic universe after a year off due to the COVID-19 pandemic, it’s definitely worth a look. Here’s hoping more Marvel flicks take inspiration from this one: shrink their scope, focus on the characters, and get the action right. And for God’s sakes, give us better third acts.

Though the movie ultimately minds its business about a lot of the personal affairs it brings up, it imbues its characters with a bounty of implied off-screen life. No Sudden Move is somehow both a stylized genre exercise and part of a larger, less rigidly controlled tapestry that reveals itself as it goes.