The film has a whimsical surreality to it, just like the actor himself.

Clearly a deeply personal project for the director, it radiates utmost sincerity, rendering the more baroque parts palatable, if not as affecting as they were clearly intended to be. Within 90 despondent minutes, Dante encapsulates a plethora of themes and ideas, and that by itself merits plaudits.

Spare and laconic almost to a fault, the film nevertheless haunts with its indelible imagery and enigmatic vibes.

he feature’s laid-back, lo-fi, semi-improvised approach and brevity ensure that it never lags. Although never quite reaching revelatory status, Leonard, a keen observer of the human condition, pieces together scenes that are bound to strike a resonant chord – especially with expecting couples.

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

No one is safe, and decency is thrown out the window. Not since Deadpool has a movie ever been so f****d up. Though Deadpool wandered more into the sexual and scatological terrain, The Suicide Squad, instead, blurs the line between cartoon violence and gory realism.

The result is tonally-uneven and predictable, down to its lame stabs at exploring xenophobia.

It should not go unnoticed that Ducournau gives viewers some amazing scenes that capture the poetry found within the grotesque.

Jungle Cruise is just plain, good, not-to-be-taken-seriously fun.

The suspense in Tailgate is cringe-inducing. Crijns keeps his foot on the gas for the entire runtime, artfully ensuring that neither the victims nor the audience ever gets a moment to breathe. Even with a premise we’ve seen before, this film delivers right up to the credits and beyond.

Had these themes of accepting the consequences of actions, living up to one’s word, the moral weakness of youth been better capitalized on, or had a little fun been had, The Green Knight would have done a better job at earning itself a place in the storybooks.

As family movies aimed at the tween demographic go, Dolphin Island is entertaining enough. The beautiful vistas could be a balm to anyone who’s thinking about the islands but can’t get there.

At first glance, the feature, which Johnson co-wrote and co-produced, may seem like yet another granola indie about a middle-aged man reassessing his life. And it is. But there’s magic to it.

Never Gonna Snow Again says so much with so little: how thinly shielded these people are from the encroaching doom, how said doom is brought about by utter ignorance (an extended shot of a tree being devoured by metallic jaws scars the soul), and how this distance from the realities of the world manifests itself in their distance from each other.

Sheep Without A Shepherd is good fun as both an action flick and a heartfelt crime-thriller at the same time. In case you were wondering, the ending is fantastic, which is traditionally problematic for thrillers in general. It wraps everything up nicely and in a satisfying way.

The New Bauhaus tells a fascinating story, as Moholy-Nagy’s art and life are worthy of being told. But, Nahmias tells it in a largely pedestrian fashion.

It makes me curious about what Noel David Taylor is going to do next. This weirdo indictment of Hollywood is just that interesting.

The actors do what they can, but even the talent assembled here can’t help getting swallowed up in the Shyamalan vortex of nonsense.

Downeast captures the essence of the frozen life in Maine better than any other film in recent memory.

The highlight of Snake Eyes is the action.

The story is lively, and the mixing of music, skateboarding, interviews, and footage of the past is amazing. It doesn’t matter if you’re a “hip hop head,” a skater, or a stockbroker. You’ll be engaged from beginning to end.

With Settlers, Rockefeller and his crew have created a striking little treatise on our misguided ambitions.

I recommend Die In a Gunfight to any film fan that wants to see a different take on the mob love story. I think the romance takes a back seat to the violence when I think an equal footing would have made the film so much better.

If there is any complaint to be laid against Big Hero 6, it is that the team itself takes a back seat. The story is primarily about the relationship between Hiro and Baymax. This is not a negative comment because the relationship between the boy and his robot is endearing and effectively told.

Homeroom is a fantastic piece of documentary storytelling

Mogul Mowgli elegantly deals with essential issues while remaining entertaining.