While at times the film begins to feel like a laundry list of bad deeds, the first-person accounts pack a wallop.

And to all you sane folk out there, be prepared when seeing this film: you'll ponder the old adage about being what you eat. For those new to the truth about food, this is a great starting point.

It raises interesting questions about cults of personality, our inability to deal with aging, and how we can use the people around us to get what we want. That’s not exactly surrealism, nor is it realism. It’s just Hollywood.

I love the fact that they told a straightforward, insightful story that doesn’t feel the need to push the “message.” At the same time, Inside Out 2 misses that quest for excellence and instead goes for good enough.

At a time when our debt as individuals and as a nation is at an all-time high, Maxed Out offers a much needed look at this escalating dilemma.

Director Anthony Giacchino realizes what an engaging tale he’s uncovered, and stays back to let the members tell their story.

Breaking Surface boasts a verisimilitude lacking in its glossier Hollywood counterparts. Hedén doesn’t resort to gimmicks like sharks (ahem, except for that dog), rightfully trusting that Nature’s elements present a formidable enough foe to his two strong female leads.

A small but excellent cast supports McKellen in what is a beautiful and intelligent film.

A complete bloodbath.

Invaders from Proxima B is a family-friendly space adventure aimed at a younger crowd; think something along the lines of the fun SpaceCamp or Explorers. Kids will enjoy it, and parents who watch with them will also be amused. So, set your phasers for giggles and get ready to be hit by beams of good fun.

Highly entertaining film.

The director’s cut of The Current War moves at a faster pace than the original, the characters are better fleshed out, and the drama is more focused where it needs to be. The new cut has elevated the film from mediocre to interesting.

While this funny and humorous study of a post-apocalyptic change excels in exploring some of its more philosophical traits, the substance regarding its core story is not quite there. Yet, this deserves a watch for its comedic rendering of the complex storyline.

The biggest strength of Cradle 2 the Grave is that it doesn’t take itself too seriously.

The film runs long. Director Rick Alverson could have wrapped up this disturbing meditation in less time and still been as effective at painting his precisely beautiful dark image.

The individual sequences, along with the confidence with which the two lead actors navigate the sometimes-turbulent currents, elevate the film into the realm of art. After all, sometimes it’s okay for the whole to be less than the sum of its parts.

Provides lethal evidence of what becomes of those who deposit their sincerity into the command of a religious lunatic.

Succubus is a parable for the tech-savvy. Its warnings on the perils of casual encounters create tension as, this time, the Devil is looking to destroy you. As the clever tagline says, “Swipe right, and she will take your soul.”

Hathaway's exuberance and dramatic range are fitting for this portrayal of the celebrated literary figure.

Great cinema it isn’t. Great fun, great music and great company more than make up for that though.

Writer/director, Kaveh Nabatian, is an excellent storyteller. It’s very easy to get wrapped up in the beautiful musical world of dance, love, and heartache that is Sin La Habana. It’s a world definitely worth exploring.

The Vandevere plot effectively turns the film from a cute animated story of talking animals into a thriller with corporate intrigue.

Slight but likable, Changeland deals with moving on and the healing powers of travel and friendship. Forgetting Sarah Marshall’s low-budget cousin, it’ll hopefully finally establish Green as more than just the “Zip It!” guy.

Even though you can see the strings in the puppet act, the plight of the characters still sometimes manages to get to you.

We aren't talking Oscar here. We're talking truly fine performances and an unexpectedly hep John Williams score. We are talking a story that rollicks with the most rollicking of them. Not great cinema; just a great time at the movies and certainly a film well worth catching if you can.

Clemency is a staggering achievement in its portrayal of a story that we often ignore out of simple spite or ignorance that humanizes all angles with compassion.

Loving Highsmith is about loving Highsmith and all that implies. As such, it gets the job done perfectly.

Jackson gives an amazing, nuanced performance as he teeters on the edge of paranoia. Spacey gives a great, toned-down show as I guy who's in over his head trying to find out what the hell is going on.