Generally, I found Running on Empty to be a joyful contemplation of life. It’s also a pretty solid calling card for Daniel André.

This is an important historical documentary that needs to be seen.

There's a lot to enjoy, and plenty of potential, but none of it pays off. So we're left with what amounts to some very clever experimental cinema in the Lynch vein. Which, if you think about it, isn't all that bad.

If you love musicals, teen romance, and the 80s, you’re going to have a blast watching Valley Girl.

It may not quite reach the heights of Fargo, but if you enjoyed Cold Pursuit or the inferior-but-similar Daughter of the Wolf, then Blood and Money will be right up your dirt road.

This film includes not one single word of dialogue.

An overly ambitious guilty pleasure with enough action and violence to keep you interested, it just doesn’t have much else.

While an enjoyable twist on the noir genre, a little more character development would have been nice.

Whether you’re a Godzilla fan or not, you’ll have fun, but you’re not going to walk away feeling like you saw something spectacular or memorable for that matter.

The final fight at the end is fantastic. It is by far the best X-Men fight in its franchise history (not counting Deadpool).

What keeps you rapt is that permeating, subtle feeling of sadness, of bitterness and regret. Whether it was an intentional choice in a “comeback” documentary remains debatable – but that’s what truly works about it, is its driving momentum.

If you approach Alita: Battle Angel like a standard action film, where you’re there just for the stunts, you will have a good time. The world created by James Cameron and Robert Rodriguez is visually stunning. Rosa Salazar is fantastic as Alita, and she shines in her mocap performance.

Kim Jee-woon’s film is smart and full of laughs but comes up against profound issues created by its gaming of reality.

All Joking Aside gives us but a glimpse of the pain behind the smiles, but like an evening at a comedy club, leaves us with a good-natured grin.

Secretary, like the type of relationship it explores, is not for everybody. But it does what good films do best; that is to provoke us, push our buttons, make us think and maybe even entertain us in the process.

A hilarious film for anyone who remembers lying as a kid-- and anyone who wants to see a movie that's just plain fun.

It may appear clichéd in the telling, but Chick has no use for the glib irony and rampant pop-culture sampling which has already dated "Reality Bites" and its ilk.

Visually speaking, Fletcher’s film is wonderful to watch. The fantastical choices he occasionally makes is grounded and never pull you out of the film.

For his rookie debut, Dev Patel ultimately produced a fun action film with pacing issues—in my humble opinion. Monkey Man’s Indian influence makes this story of class and caste fascinating to behold.

The Motive is a fun, light film with a sad sack lead we can love and good laughs sprinkled throughout.

Kung Fu Rookie is a heartfelt, high-energy tribute to Jackie Chan. It is packed with acrobatic action and playful stunt work that would make the legend proud. With thrilling fight sequences, goofy humor, and a love for old-school kung fu cinema, it is a fun ride that proves admiration is best expressed through action—literally.

Into the Darkness serves as a keen portrait of a deeply divided country, unsure of where its allegiance lies. Heavy-handed and slow-moving at times, further bogged down by extended speeches about the future of Denmark’s economy/industry, this behemoth nevertheless impresses, simply due to the sophistication of it all.

Kudos to Max for conjuring genuinely unsettling, Boschian images with a limited budget.

Boasting a formidable cast and a keen eye for detail, Killing Eleanor makes it easy to forgive its flaws. Marks deserves major props for making an old story seem fresh again. Here's hoping her next tale won't be so old.

Say what you want about Mel Gibson, but that sadomasochistic anti-Semite knows how to shoot a movie.

It’s an exciting movie filled with plenty of action, adventure, beautiful cinematography and best of all, terrific performances.

Strays hits my sweet spot in comedy. It is goofy, silly, and filthy. Your mileage may vary, but I can’t wait to see this again.

While his previous drama, The Road to Mandalay, showcased his keen eye for social realism, Nina Wu is suffused with visual poetry – all stark-reds and grainy yellows – and a dream-like (or nightmarish, depending on how you view it) atmosphere. It’s a portrait of a country experiencing significant sociopolitical changes. By focusing on its filmmaking industry, Z takes advantage of the opportunity to experiment visually, thematically, and narratively – at times, to the film’s detriment.