Blitz creates a rousing show of strength in the face of horrific civil strife, and there’s an undeniable power to how McQueen revisits the most visible chapter of his country’s history through the eyes of someone who’s so frequently been erased from its pages. If some of the movie is hurt by its failure to bear his imprint, that only serves to remind us just how valuable his imprint has become.

While Grant’s film nails certain elements necessary to the genre (like casting a pair of likable, capable stars who generate some real heat), the film is also prone to falling into just as many bad habits and limp tropes synonymous with big screen romance.

“You’re Next” doesn’t work particularly well as a stand-alone film, but that’s ok because it nails so much of what fans might be hoping for and expect from a new feature length take on the story.

More than anything, Blink succeeds as a film about the lengths that parents will go to give their children every possible ounce of joy in an indifferent world that too often has cruel other plans for them.

With elegant acting from its two young leads and picturesque cinematography from Matthias Koenigswieser, it serves as a competently executed morality play for audiences craving a bit of unambiguous humanism.

The filmmakers’ decisive presentation is enjoyable enough as an entrée served straight to streaming.

There’s good fun to be had in watching so many limbs get hacked off for the better part of two hours, but Director Kim can only dismember so many body parts before he starts to lose track of his movie’s spine.

This lilting tale’s blink-and-you’ll-miss-it brevity proves inseparable from the lasting power of its punch-to-the-gut impact.

If The Platform 2 iterates on the original idea in a way that proves this property’s franchise potential, it falls apart in almost the exact same way as the previous film, abandoning the broadly representational nature of its premise in favor of the maddeningly specific mythology of its silly non-characters.

At its heart, Dead Talents Society is an affectionate ode to East Asian horror cinema, and its earnestness — and silliness — are key to its appeal.

Notice to Quit is redeemed by the simple fact of its nature: This isn’t a film that lives in the lows and highs of its defining moments so much as it’s a film that’s sustained by the strength it takes to put one foot in front of the other, and by the rush of rushing through New York City in lockstep with someone you care about.

Terrifier 3 is decking the halls with a triumphant celebration that’s horrifying for all the right reasons and snaps into focus what it is that Leone does singularly well. That may or may not win people over, but it shouldn’t lose any repeat customers.

A movie brimming with sentiment but not sentimentality, this is one of the most moving animated films in recent memory, and, beyond that, groundbreaking too.

Yes, life can only be understood backwards, but Memoir of a Snail makes a sweetly compelling case that we’ll see the beauty in it one day — such a sweetly compelling case, in fact, that you might just start looking for it now

Daaaaaali! sure seems like the one movie that Dupieux was destined to make.

In aiming for a piece of atmospheric sensuality, she instead lands in an erotic no man’s land, where the dramatic but obvious filmmaking — like an orbital shot when Emmanuelle finally reaches orgasm — isn’t surprising or evocative enough to make up for the silly monologues and empty characterizations.

There’s nothing especially mold-breaking here, though an ending moment elicits a gasp even as Apartment 7A ends with a cruel shrug — and perhaps the best thing I can say about that is that now I immediately want to rewatch Rosemary’s Baby. Plus, Garner gives a captivatingly distressed performance as a woman being attacked from all sides, where the only way out is through a window.

Maintaining a feel-good tone without becoming saccharine, “Rez Ball” is a charmer with enough of an edge to keep viewers on their toes.

Watching Errol Morris‘s urgent reminder of a documentary — possibly the most enraging film yet made by a director who’s certainly known how to illuminate infuriating topics over the past 45 years — will raise your blood pressure considerably.

Certain twists will remain unspoiled, but “Never Let Go” should resonate with both horror junkies seeking fall escapism and parents looking to see their struggles visualized.

The Deb may not be the most memorable movie musical of the year, but its heart and funny bone are in the right place.

It’s easy to imagine how a version of this film might have descended into vaguely connected sketches (and still would have been one of the funniest pure comedies in forever despite its shapelessness), but there’s a clear and rewarding intentionality to DeYoung’s plotting, and it pays off with a finale that — better than almost any scene before it — perfectly threads the needle between all of the movie’s competing energies.

Although made up of many mesmerizing moving parts, “Harvest” ends up as feeling less than the sum of these. There are sparks of what makes an Athina Rachel Tsangari film great within this impressionistic period fable, even if — unlike the fires that bookend the film — it never fully takes the blaze.

On Swift Horses is a stunning tableau of almost-romances, weaving together ephemeral moments of magic with the pain that inevitably follows when the universe takes them away.

Life may have been very beautiful in this mountain town but even during its most tumultuous years, spending time within it isn’t exactly fascinating.

While Youth (Homecoming) certainly benefits from the seven hours of weaving-machine whir that preceded, the film quite ably stands alone.

"Never Too Late” is a competent but largely conventional look at John, which focuses on the most documented part of his life: His astronomical rise in the first half of the 1970s. With

The film is peppered with comedic delight. Coogan’s deadpan gravitas leads the way in a cast that mostly delivers.