It's the weakest of his three English language efforts due to it feeling like he's watering down his satirical approach, spoon-feeding exposition to his audience alongside each joke under the worry that the parody might go over their heads.

Although the relationship between Craig and Drew Starkey, who plays his reluctant lover, is endlessly fascinating, the film doesn't do enough to explore it, instead taking an odd third act turn into an entirely different plot and dragging out every minute of its runtime with trippy, pseudo-intellectual visuals.

It's another triumph from a singular voice in cinema, and another Lanthimos movie you sort of never see coming.

Nobody comes to a "Bridget Jones" movie for realism, but Bridget Jones: Mad About the Boy understands what its predecessors struggled to, recognizing that even the most far-fetched of genre tropes becomes more palatable when pitched as cathartic to its protagonist, and the audience more generally.

Maybe there's something I'm not getting here, but as far as I'm concerned, Die My Love comes alive in individual scenes yet feels stultifying as a whole.

It's intelligent without being profound, amusing without being hilarious, empathetic without being gut-wrenching. "Cute" is the word I'd use to describe it overall. By nature it's nothing special, but it's not bad either.

The only thing holding Heretic back from instant classic status is its final act, where some of the big secret reveals end up a bit disappointing after so much great build-up.

Lawrence and screenwriter J.T. Mollner's take on "The Long Walk" is a reminder of why King's stories have historically been well-suited for the screen, replicating the blend of melancholy, coming-of-age character study, and fatalistic horror that defined the very best adaptations of his work.

. The fact it all adds up to an enjoyable romp, albeit one that never feels as bold as its parts, is likely an encouraging sign that Dan Trachtenberg has attained a similar status to Phil Lord and Chris Miller a decade ago, taking pitches that sound disastrous and turning them into non-compromised crowd-pleasers against all the odds.

The plot, like Dylan himself, seems to be meandering, and while it's an interesting parallel, the end result is a film that feels more than a little listless whenever someone's not singing.

It looks beautiful, and there are no weak links within the stacked ensemble, but it winds up feeling alarmingly empty.

Emilia Pérez can certainly be messy, but it's rarely a mess, and many audiences might just fall in love with its audacious, chaotic energy.

Much of Materialists is almost aggressively unromantic, and while it's not without laughs, those are also darker and more uncomfortable than you'd expect.

Though its long string of wacky plot points might sound convoluted on paper, one shouldn't worry too much about it. The craziest details are mostly there for laughs, and the thematic and emotional through-lines that actually matter remain clear throughout.

Like many high-concept satire movies, it works best in its first act when it's still setting everything up, then it loses steam when it's not quite sure where to go with the idea. The end result is an uneven yet still entertaining satirical romp, bolstered by engaging performances from its top-notch cast.

It's a testament to the charisma on display, and the expertise with which they work, that they all can take center-stage and then step back and let someone else have a turn.

At the end of the day, the roar of the engines is loud enough to drown out any meaningful discussions about the intersection of commerce and art. For a movie about cars racing fast, it delivers.

As a whole, "Day One" is different enough from its predecessors while meeting similarly high marks of filmmaking craft, resulting in a solid piece of popcorn filmmaking.

As an introduction to the rebooted DC Universe, "Superman" is zippy blockbuster fun. But amidst all its cartoon absurdity, it might just inspire people to make a difference in this universe.

It features an excellent ensemble cast who bring tremendous heart to each of their cinematic segments, and represents Stephen King at his most sentimental and uncynical.

It aims to be a nostalgic send-off, but the execution is muddled, forgetting that nobody ever came to these movies for the plot so much as the spectacle its amateur stuntman star provided in droves.

If Smile 2 feels just as good as the first in the moment, then it's entirely thanks to Scott, who helps anchor a story that could crack under the weight of its endless twist reveals.

It will likely prove divisive, but Blink Twice mostly succeeds due to its scathing nature, taking off the kid gloves that most recent eat-the-rich films have tackled the 1% with. It's not a flawless debut, but it's a convincing sign that Kravitz has an even more exciting career waiting for her behind the camera.

It wrestles with similar ideas as its source material, sure, but when push comes to shove, Watkins is more than happy to deliver all the violence and hysteria that's been bubbling underneath the surface the whole time.

Good Luck, Have Fun, Don't Die is both a battle cry and a bleak joke about how unregulated technological progress could destroy civilization and break our souls ... if it hasn't already.

This is a surprisingly sad movie — just one that also happens to be funny.

The power of Fiennes' and Binoche's performances, as well as the strength of the classic tale itself, allow "The Return" to build into something both entertaining and meaningful in its final act.

The craft is there. The new characters are solid enough. Visually it's a real treat to behold. But 145 minutes is too long to spend retreading the recent past.