Estes and his team did an admirable job in bringing together a team of youthful actors who carry the weight of a fairly weighty movie.

Voice Of Shadows takes a familiar premise and adds an original twist, creating a scary little mystery.

Ip Man 4: The Finale is a thrilling end to the Ip Man saga. The action is fast-paced, and the fighting is poetic. The story not only brings a modern twist to the legend but is just as relevant today as it was in the 70s.

Heavy Trip is an absurdist, powerhouse folly, which feels spunky enough to honor the musical genre and comes filled with deadpan hilarity to please comedy addicts.

Silliness is on tap for you and your kids with Despicable Me 4, providing good fun for a trip to the theater or on a long road trip.

Amir Agha’ee shines as the film’s lead. His portrayal of grief and guilt is heartfelt and his emotional performance is perfect.

Undeniably fun for the kids, though it requires a camp sensibility in its adult audience. But in doing so, it is a warm return to the live-action Disney movies of yesteryear.

With a run-time of only 69 minutes, The Stand: How One Gesture Shook The World is a pertinent history lesson for ALL people, American and otherwise. It’s worth investing that hour of your time to see how far we’ve come, yet how far we still have to go in this country.

With terrific pacing, knockout script, and actors who know what to do with it, Untogether quickly earned its place in the subgenre of romance worth watching.

Complaints? Sure, I had a few: The liberal use of insta-sweat whenever the character in question is experiencing tension, Harvey's aforementioned accent, one over-used shot composition that places the action at a great distance with a giant-headed supporting actor in the extreme foreground. [Re-release]

All the household changes give the film an episodic quality that leads to a certain start-and-stop dramatic momentum. But fresh face Lohman holds the film together emotionally, more than matching up to the bigger name stars that turn up in supporting roles.

It feels timely and urgent, and its phenomenal young heroine ensures it doesn’t become overly mawkish, preachy, or prosaic.

Among Wolves is a subliminally powerful – if perhaps a tad too minimalist – statement on achieving redemption in a seemingly doomed place.

Antebi resists the temptation to supply a simple, idealistic solution to achieving sobriety, an ongoing process that takes time and effort. Instead, he untangles the struggles of addiction and the road to recovery with a dose of levity and absurdity. He thus renders it easier for the viewer to latch onto the high-energy, albeit overly confident cinematic machine that is God’s Time.

80 for Brady is one of the most mediocre films ever made. However, there’s just enough heart and silliness to recommend it for nostalgic purposes. Plus, the four leads bring it. Also, like Superbowl LI, the film has an exciting fourth quarter.

Congrats to Jared Bush and the Walt Disney Animation team for an overall solid effort with Zootopia 2. I can’t wait to see what you have coming next.

It all feels good enough, which also feels disappointing at the same time.

Despite its slight story and tiny budget, the music that pulses through the heart of the film buoys it above its limitations.

Rally Road Racers may not change the world or elevate the art form of animated features. Instead, it’s one of those films my kid would watch over and over again. It is good, wholesome fun, with some classic actors to help appease the parents looking for things to do with their kids.

The story remains rooted in the outlaw couple on the run subgenre of crime film, but it then metamorphoses into an entirely different type of category. It has humor, but it is not a comedy, as the delivery and intent is coming from somewhere else.

The chemistry between McCarthy and Cannavale is great. I could see an entire, more traditional rom-com starring the two of them.

Ultimately, Father Stu is unlike any other faith-based film I’ve seen. It’s raw, honest, and uplifting without tapping into preachy territory, which ultimately makes it effortlessly uplifting.

The rise of anxiety is a serious problem with no real end in sight. Films like Anxious Nation are important for spreading the message. However, the only realistic way to change attitudes on mental health is to normalize seeking care and to make more people aware of the solutions.

The Mission is a straightforward documentary about the life of a Mormon missionary. Nothing controversial happens. It’s a day-in-the-life story. Though Anderson never attempts to proselytize audiences into the LDS religion, there are more than enough opportunities to hear their message.

Money Plane will be remembered as Adam Copeland’s first feature lead role with some heavy-hitters to back him up. The film is good, tame fun, but in desperate need of memorable, action moments for water-cooler talk.

It’s like a video game, but with Chris Hemsworth doing all the killing and maiming. Again, the stunts and special effects are fantastic, and as far as action movies go, there are far worse options out there.

War Path is a good movie with potential. It does a lot with its budget and resources and is worth a watch for any fan of independent filmmaking.

The Story Won’t Die gives us hope that what happened in Syria won’t be drowned out or forgotten and that bold artistic expression that disrupts the West’s status quo will also not die. These young Syrian artists keep such hopes alive.

Storywise, I’m good with the first two acts. It’s a new chapter in the series, and things have changed in the story. The world is evolving along with its primate inhabitants.

It’s easy to forgive its melodramatic excesses, especially if you happen to be partial to the genre. And things do pick up as the story unfolds.

The Bromley Boys is a light comedic drama, and you’ll have a good time if anything British is your cup of tea.

At the end of the day, Hillbilly still achieves to be a compelling and timely documentary raising a lot of valid points while being charming and fun.

I’d describe A Dark Foe as a dark ride at Disneyland. You’re invited to step into a vehicle, buckle up, sit back, and enjoy what happens around you. The steady progression into darkness moves rather quickly through one revelation after the other.

Despite its narrative shortcomings, Soumaya presents a modulated perspective on the aftermath of reactionary politics and procedures.

Twisters delivers a thrilling, albeit scientifically loose, ride that taps into the nostalgic fun of classic disaster films. Daisy Edgar-Jones and Glen Powell bring solid performances, capturing the high-stakes action and adventure with flair.

If they had gotten the music right, it could have stood by the original classic.

The Oak Room is a movie that purports to be seen as a dark and twisty backwoods noir but takes so much time getting to where it actually wants to go that by the time the story winds itself up, we’ve lost interest.

I loved the acting, the cinematography, and individual sequences work stunningly. The whole does not equal the sum of its parts.

Wonder Woman is not a horrible film and gets a very mediocre good from me. I liked it for what it is, but the expectation of something bigger and better was not met, and honestly, what I prefer in big-budget movies. I think this will be the general reaction to the film, and this is probably why, especially if you were expecting something as spectacular as the first Wonder Woman.

The drama is a mostly compelling watch, but we’re left wanting more from a film with such an impressive assemblage of individual pieces.

In the end, you get a sense of what actually happened and what was imagined. However, you are still left feeling uneasy.

This film is very much of our current era, but you can even be *gasp* over 30 and enjoy CRSHD, even if it is a little reminiscent of a lot of the college movies that came before it.

Thanks to strong characters, a great cast, and one bonkers-in-the-best-way finale, the film is sure to please undiscerning fans that just want to have a bit of cool-looking fun for an evening.

Abandoned delivers tension with a more nuanced approach to a particularly emotionally vulnerable stage of life.

Mija captures the true essence of everyone involved, and nothing appears to be falsified or altered for false dramatics.

For those who appreciate uplifting stories with spiritual undertones, it delivers exactly what’s expected—and sometimes, God’s blessing is enough.

Unfortunately, Stuber never rises to the point of being remarkable in any way. You’ll love it, if you are a fan of either lead, otherwise, it’s a standard buddy movie.

The value of Petit Mal is in the performances and formal flourishes that disrupt the actors’ rhythm work against one’s overall enjoyment. Even so, there’s always a place for filmmakers willing to tell distinctive love stories, and one involving a lesbian throuple in Colombia certainly fits the bill.

One does not require cinematic genius to have fun, and this movie is indeed fun.

Davis’ delusions of grandeur are definitely not bulletproof like some of his vests, but that doesn’t necessarily make this an essential watch.

As a documentary, Pasang: In the Shadow of Everest does its heroine justice.

In My Room has a The Last Man on Earth and The Walking Dead feel (don’t expect zombies) and definitely has some surprises. Do all the surprises work? No. But most do and that works.

Gregory Bayne’s Making Sense puts the spotlight on a fantastic cast with disabilities and tells a story about disabilities that could only be told as science fiction.

Superhost could have strengthened its narrative by not revealing its cards as early as it does.

It is a film that, while intelligently conceived, is in no way its own. As such, it struggles to connect with the viewer in any way beyond its aesthetics. This is, in a word, a cold film, lacking the vital spark of originality, the warmth of humanity.

Birds of Prey: and the Emancipation of one Harley Quinn is a fast-paced action movie with fantastic stunts and set pieces. We’re just not given any good reason to care about Harley Quinn, or her female compatriots needed to be emotionally invested in their ultimate victory or demise.

The gags are a series of really lame dad jokes, and it’s missing the awe and wonder that will delight children and adults.

The film builds everything up just to smash it and laugh, like a kid playing with LEGO.

Its pace is unbearably slow at times and considering we’re watching a woman essentially wasting seventeen good years of her life chasing a man, tragic is the best way to describe the whole experience.

I feel that the laughs could have been spread out a bit more and not all at once, which would make the film not feel as if it was dragging. Bruce!!! is one hour and forty-three minutes but feels more like two hours or over. It’s the case where less is more.

The director understands what it takes to get viewers invested, but she throws that away in the finale.

Even though it doesn’t stick to the landing, this is a fun watch with some cool ideas.

Watch The Deliverance for Close if you haven’t already done so. However, a performance of this caliber in a movie like this is like seeing a BMW 5-series being used to do donuts in a field of manure.

Riddled with a familiar story of survival and characters who never stop observing and asking important questions (even though most of them are scientists), Jurassic Island offers some unconventional yet decent entertainment.

Between Black’s signature enthusiasm and Rudd’s insecure actor persona, there is fun to be had. Plus, Selton Mello walks off with every scene, leaving the audience at his mercy. Overall, this is good, not great.

What The Riot Act lacks in gripping pace, it makes up for in stunning cinematography which beautifully captures the moody atmosphere of the era. Intimate performances draw viewers in, despite the underwhelming sense of suspense. Plot twists could be punchier and less obviously foreshadowing.

Trauma Therapy: Psychosis is poorly paced, with the interview interjections feeling tacked on and forced in (they were). That’s too bad, as the rest of the film is a creepy and engaging thriller about what it takes to break someone.

The Fantastic Four: First Steps is good, when it should have been great.

Due to the lack of immersion in the Ape community, this often feels like a finance doc with a few fun moments rather than the story of Apes who conquered Wall Street.

Despite the flaws in the script, Pattinson and Zendaya deliver their roles beautifully.

It is a good movie, but what elevates it from the pack are the performances from Riz Ahmed and Octavia Spencer.

If your first exposure to Rasoulof was There is No Evil, you may feel a bit let down by A Man of Integrity. That is not to say that this is a subpar film, as it is definitely a satisfying drama.

Gillan is always a powerhouse, and the set-up of her in a Battle Royale rumble is enticing. Still, the actor is required to maintain a monotone delivery from which only the slightest emotions escape.

Just as a movie skewed toward kids will bore adults, Soul will bore children, and it did mine. I love jazz, but I don’t think my child will add it to her Spotify playlist. In the end, Soul told a good, insightful story but was too much of a departure from the norm.

As hard as it is to grasp where the story intends to go, it’s just as easy to realize that it had no other choice but to fall into standard crime thriller tropes.

By taking its time setting the stakes for all involved, when the action strikes, its impact is witnessed more through the cast rather than a cadre of CGI explosions.

A Family Affair has the heart but could do with a few more laughs though what humour is here is funny.

While not a remarkable action/race film, Fast Company does boast some innovative and impressive footage captured from inside a dragster that would not have been the same directed by anyone else.

The plot, about a man who followed his dream, just oozes optimism. If you grew up in this era, there’s a lot of nostalgia value here. Toe-tapping fun is how I’d describe my time with Spinning Gold

Ultimately, it’s fine. Yet, considering its cinematic history, fine is never good enough.

Apocalypse Clown is a little too serious to work as a comedy, and a bit too comedic to work as drama. But the writers have paid attention to their narrative and have ensured that every plot strand comes together at the end. Plus, the cast, especially Palamides, is really terrific.

Divine Love is beautifully shot and wonderfully acted, but for those who are on the religious persuasion it may be too blasphemous, and for those who do not subscribe to a defined religion, it may be too dogmatic and weird.

In the end, there is no denying An Elephant in the Room is a very earnest project and it is the kind of documentary that has a subject so strong and primordial to its existence that “appearances and effects” might bear little consequences to its overall appreciation.

The central trio gives solid performances, and the script takes some interesting turns. The ultimate draw of the picture this lingering feeling that, just like with the central protagonist Teresa, there’s something not quite right regarding motives and motivation.

The entire film seems to be the book’s narrative highlights strung together but rarely spotlights any of the themes or subtext from the book (if there are any). I don’t think this David Lynch film is Lynchian in any way. To me, Dune is a straightforward adventure with very little depth or character motivation outside the genre’s tropes.

This is a thoughtful, visually inventive film showcasing Zemeckis’ continued willingness to push cinematic boundaries.

Overall, the movie’s performances are good, not great, but enjoyable nonetheless.

Finally receiving a theatrical release 20 years after it was made, Philip Hartman’s “No Picnic” emerges as an entertaining if flawed relic from a very different era.

Paradise City is a fun and lightweight tale for an evening of Hulu and chill. It’s not going to change the world, but it’s entertaining enough, especially considering Willis’s recent retirement.

If you can see Run Tiger Run in its original Japanese language with subtitles, do so, as it will be an enjoyable time. If you can only see the dub, then note that there’s a lot to really like and appreciate, but the English voices are not one of those things. All in all, this is an exciting romp with good animation, only hampered by one poor element; unfortunately, that one thing is a big part of the film.

Unfortunately, Another Time spends a chunk of the film giving viewers an unnecessary, unwanted and mind-numbing quantum physics lesson, which spoils all the romance and fun.

This is an action film, meaning that’s where the fun lies. Cage gets to show off his special skills with unique bits of punctuation after each kill. There are plenty of chases, gun combat, and hand-to-hand fighting. The only disappointment you’ll feel is that everything is done for comedic effect. This is much lighter in tone than you probably want it to be.

Writer Jemima Khan and director Shekhar Kapur not only bring the Pakistani perspective on romance but incorporates it into modern English culture.

If you are new to the Child’s Play/Chucky universe, the informative side might be stretched too thin. However, for fans of the snarky killer doll, Gardner has crafted a gleeful celebration of all things Chucky.

While Shelby Oaks doesn’t necessarily bring anything new to the horror genre, it does just fine with what it has to work with. If you look past the fact that it’s created completely out of pre-existing tropes, you can enjoy the story. It’s made well, the actors are all good, and the cinematography and audio are all done at a high level, especially for a new director’s first film.

This is must-see mafia viewing.

In the end, what we have with In Like Flynn is an homage to the action-adventure tales of old Hollywood, appealing to the fans of the adventure films of old.

Pay Or Die acts as a call to action driven by human stories.