While Jardin is clearly a clever and creative visual stylist, he's a lot less creative with his story. His story ideas need to catch up with his visuals, then he might really have something.

As a frenetic, chaotic glimpse at the making of a doomed-to-fail sketch comedy series that has somehow lasted for 50 years, Saturday Night is a blast.

Florence Pugh and Andrew Garfield are both preternaturally likable, and it's their performances and chemistry together that helps We Live in Time stand out from the crowd. Even so, the film's gimmick and its two glittering stars aren't quite enough to elevate this into must-watch territory.

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.

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.

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 more this origin story refrains from winking and nodding at the future direction of this characters, the better it is. That it can't entirely keep itself away from this impulse is why it isn't the smooth introduction for a new generation of potential fans it could have been.

Eden will attract interest for its strong ensemble and for its intriguingly dark true story. It's an entertaining enough way to pass two hours, but it's also not a film I expect people will be thinking about long after they see it.

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.

Adams' great performance aside, Nightbitch is just a good but not great movie — and oddly enough, its biggest obstacle to greatness might be that it's not quite weird enough.

The problem is it can't find nearly enough to say to justify its 148 minute runtime, exhausting interest and failing to build its intriguing big ideas into a compelling story.

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.

George Clooney and Brad Pitt have wonderful chemistry together, as always, and they make sense as two wily, slightly over-the-hill fixers, but Wolfs itself is relatively uninspired.

The Brutalist is destined to become a classic.

Despite its faults, it showcases how much sex scenes can be used to explore character beyond their mere ability to titillate (but don't worry, there's plenty of that as well).

The film as a whole may be too sedate and ploddingly paced for some — a piano being moved back and forth, over and over again, across an elegant but lonely Parisian apartment, both literally and figuratively. But it's impossible to deny the raw emotional power of Jolie in the lead role.

Despite a cast of endearing key players, a couple of solid scares, and a story rooted in certain fears a lot of us can easily relate to, it's a film that spreads itself so thin that, by the end, the only thing it can really be is a mess.

There's enough here to win over audiences who loved the original film, particularly in its depiction of the endless bureaucracy of the Afterlife.

The '94 film's characters were more vehicles upon which to project outside feelings about grief rather than individuals one could actively grieve for, so that is an area with room for improvement. Alas, almost every other decision made in this remake actively works against the principles of good drama, good entertainment, and good messaging.

The cinematography is gorgeous, and the audacity of the twists can be darkly funny. But thinking about "Cuckoo" afterwards, I feel like I'm missing the key to making sense of and really connecting with it.

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.

While "Romulus" is a bit overstuffed, it's also never boring, and at its best it's one of the scariest rides you can take at the movies this summer.

While Roth and his production designer, Andrew Menzies, do many of the sets justice, particularly when the ragtag group goes to the city center, the story just can't live up to this. "Borderlands" is a poor man's version of "Guardians of the Galaxy"; while it may look kind of pretty, it has none of the personality of that earlier movie. Don't waste your time on this one.

Between characters who have no depth to them, cliched dialogue, and a strange approach towards the dynamics between an abuser and their victim, it's hard to recommend "It Ends with Us" to anyone but the most diehard Colleen Hoover fans. Pour one out for Blake Lively and Jenny Slate, who both deserve so much better.

It's almost impressive that a movie all about the power of imagination could be so creatively bankrupt and incurious about the world, but this misguided kids' film manages to be all that and so much more (or less, depending on your perspective).

Although it falls apart slightly in the third act (a treat the director is unfortunately unable to shake here), a tense narrative and unsettling performance from Josh Hartnett makes Trap a delightful late summer thriller.

Deadpool & Wolverine isn't the height of the MCU, but it is the height of the MCU right now, and for a franchise that's struggling at the moment, it's the shot in the arm that the MCU needs.

Twisters can't quite recapture the magic of its predecessor, but setting aside the Herculean task of clearing that high bar, it is nonetheless an entertaining and heartfelt attempt, if not to proudly step out of its forebear's shadow, then to charmingly poke its head out to smile and wave politely.