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.