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.

This is all competently executed, as Prior and Zagorodnii have impressive chemistry, and Rebane allows their performances to take center stage. Unfortunately, even though the two leads are a joy to watch, we can’t help but feel that we’ve seen what Firebird is offering before.

The visuals make this feel like an actual Western, even though it doesn’t have the epic scale of the great Hollywood Westerns.

It feels like a reading of ancient tales, with the emotion of the opera replacing the melodrama and acting found in traditional period pieces.

Overall, Afraid delivers an unsettling ride with standout performances.

The ending does have a pretty good payoff to push Masquerade over the recommendation line.

There’s no shortage of entertaining moments in To Catch a Killer, but that won’t stop audiences from wanting more. Other than the performances from Woodley and Mendelsohn, there’s not a lot to grab onto, which would help distinguish this from countless other entries of this ilk.

Rowan Atkinson's spy spoof is wildly uneven and yet, at times, nothing less than wildly entertaining.

I’m Not Scared manages to convey a truthful approach to the beginning of the end of childhood.

Beyond any contention is Morgan Spurlock's gift for metabolizing common knowledge into uncommonly entertaining cinema.

It offers a noteworthy reminder of the dangers of historical amnesia. And in so doing, it indirectly raises thought-provoking questions about the intimate, often fraught relationship between the past and present.