It’s hard to argue with Martel’s mission, or the existence of the film at all; however, unfortunately, the director’s wide-ranging approach has the effect of muddling the story rather than elevating it.

The Stranger is a distancing, cold watch that’s sure to leave many viewers feeling completely stranded, which just may be what Ozon is going for.

Preparation for the Next Life emerges as a poignant and empathetic examination of the challenges faced by young people in America. Through Bing Liu’s sensitive direction and Sebiya Behtiyar’s standout performance, it tells the story of two survivors bound by love but trapped in circumstances beyond their control.

Those who exist within the warm bubble of environmentalism will surely connect the dots between the tidbits the filmmakers present. But those who take the film’s paean to critical thinking at face value will be left disappointed, searching for answers.

There are flashes throughout of the filmmaker at his absolute best, enough to remind audiences why Gray remains one of America’s most compelling storytellers, but taken as a whole, Paper Tiger ultimately feels like a lesser entry in his filmography, let alone the crime genre, which he has dabbled in on more than one occasion.

The Christophers may not be Soderbergh operating at his peak, nor does the film build to a satisfying or impactful conclusion. Regardless, Coel and McKellen make this creative endeavour worthwhile.

Even with a transfixing subject at its center, The Man Who Saves the World? struggles with its structure.

Ultimately, the piece collapses under the weight of del Toro’s vision, a muddled collage of tones that consistently underwhelms. It’s a beautiful collage that amounts to a surprisingly arduous execution.

The Blue Trail, despite its many narrative flaws, stands out for a striking visual style and ability to ask uncomfortable questions about aging and autonomy.

Ultimately, what you see is exactly what you get with Poetic License – an average American comedy that unremarkably plays it safe.

In the end, Boys Go to Jupiter may not fully stick the landing, but it’s a bold, vibrant, and unmistakably personal work of animated cinema. It won’t be for everyone, but like any great piece of outsider art, it doesn’t try to be. Glander has created something strange and resonant, a lo-fi lullaby for the anxious and overworked who just want to be a kid again.

While well-made, The Currents lacks the spark of originality that could make it truly outstanding

Influencers loosely explores its ideas through a slew of new approaches, which don’t always pay off. This sequel does feel like a much bigger film, both in terms of scope and presentation. But while sustaining the tone and style of the original, these expansions of ideas work to varying degrees. Yet the hiccups present in such thematic explorations never feel like misfires as much as they feel a bit undercooked.

Raimi’s efforts as director do a lot to bring out a campy tone amid the violence, which makes for an engaging ride. The commitment from McAdams and O’Brien goes a long way toward elevating their characters, and watching their changing dynamic unfold is intriguing. Yet these elements are fighting against a script that weighs down the other inventive aspects of the performances and filmmaking. The narrative is too broad and can’t sustain itself over this runtime.

Regardless of Eliassi’s commendable efforts to enact real change, she’s a limited messenger in the pursuit of coexistence.

Carney does dig into something interesting about inspiration: how, in music, it’s an amalgam of origins that’s harder to define than in other art forms. Still, the rest of the film settles for being a feel-good dramedy, with any depth merely trailing behind the tear-inducing monologues these characters deliver.

The score is used in a thrilling way that pushes the narrative and thematic elements of the film forward.

Bugonia makes the disappointing choice to favor ridiculousness over meaning.

It is a harmless outing that, while featuring a few strong performances, ultimately feels like a pleasant diversion from a filmmaker who is clearly capable of far more.

Exhilarating running sequences are animated with such creative flourishes. It sustains a few of the lulls in this film with thrill and dramatic impact.

It’s easy to identify the ingredients that would make “Bunny” fodder for a compelling situation. The characters, premise, and comedic setups are all there to drive up the tension while also crafting engaging set pieces to witness. Unfortunately, it all amounts to very little.

Anyone seeking something with more depth will not find it here, but there are still worthy stories to tell.

A solid outing for the series with plenty of satisfying thrills, all of which is sold by the terrific pairing of Elle Fanning and Dimitrius Schuster-Koloamatangi.

The Sun Rises On Us All is, above all, a film of contrasts. Its emotional core and the compelling performances of Xin Zhilei and Zhang Songwen are undeniable, and moments of genuine power shine through. Yet uneven pacing, heavy-handed melodrama, and occasional narrative drift prevent the story from fully resonating.

Dragonfly could have been a gem to watch with a cup of tea on a rainy day. It has brilliantly nuanced performances and a heartwarming tone, but it doesn’t seem to trust the quiet power of its story. Instead, it’s ultimately undone by a clumsy, horrific final act. It’s a film that needed more faith in its own heart.

Copti’s direction coaxes authentic performances from his cast of non-professional actors and the script explores challenging themes in a compellingly even-handed way.

Holland conjures up some genuinely Kafkaesque images and dialogue exchanges that feel like exactly the biopic Kafka deserves, and in those moments, “Kafka” is quite thrilling. Unfortunately, though, Holland’s surfeit of ideas results in a film that simultaneously feels like too much and not enough; too much deviation from standard biopic formula and not enough connective tissue to make everything cohere.

Ultimately, Tuner is a film about sound, silence, and rediscovering who you are. It’s about the terror of losing what defines you, and the strange, unexpected ways life can offer a new shot for those who feel they already missed it.

Two Pianos is at once a story about identity, aging musicians, memory (and the loss of it), the dangers of pragmatism, the treatment of young music prodigies and how it affects them as they age, overcoming addiction, and the lies we tell ourselves and others to justify our choices. All of these ideas are connected, but none of them rise to the top to become an overarching theme that unites them all.

Many films like this may exist, and many more will certainly follow. But Layton’s attempts to differentiate this particular crime film will leave audiences with enough worthy moments to linger on, even if the overall impact is modest.

As a whole, Bad Apples occasionally brings some laughs, but it leaves little to ruminate on after. If Ronan and Waller weren’t as good as they are, bringing a dynamic that has some interesting evolutions, then there would be a lot less to present here.

Volpe’s direction and the stoic pace keep Frank and Louis at arm’s length, never truly letting us engage with them on a deeper level.

The jokes are plentiful in quantity but certainly not in quality, and the shiny, cheap-looking filmmaking itself doesn’t make it any easier on the eyes than it is on the ears. And while it certainly has a heart, thanks in huge part to the talented ensemble of funny performers, it doesn’t have the brains or the nerve to be clever or daring in its comedy.

while there are certainly entertaining moments throughout, Van Sant’s interpretation of this forgotten true crime story is simply not as exciting as it should be – and clearly wants to be.

Although considerable attention is paid to a general love of cinema and those who work to create it, this portrait mostly plays on the surface, evading the more complex inquiries necessary to give this analysis greater depth. Despite much to commend, there remains an emptiness at the center that mirrors the protagonist’s own life. Perhaps it is intentional, but it remains unfulfilling.

The Wrecking Crew simply relegates itself to the walls of screensaver cinema, destined to be ambient background noise.

Yellow Letters is shockingly low-energy, despite the urgency of the situation the characters find themselves in.

Chastain, Wasikowska, and Hiddleston do their best, but the writing of “Crimson Peak“ comes off far more slight than Del Toro’s previous work. It lives in the shadow of similar films, but with a far more unrelieved energy. Del Toro and Robbins eventually find a groove, but by the time that occurs, it’s far too late.

If you were hoping The SpongeBob Movie: Search for Squarepants would change the game for the franchise, you might be a little let down. That said, it’s still pretty hilarious, at least as funny as the last few films, with plenty of genuine laugh-out-loud moments that are best enjoyed with a crowd.

The so-bad-it’s-good last act may be fun enough to convince you that “The Housemaid“ is a good time on the whole, and yeah, it kind of is. But that doesn’t make it good.

Unidentified uses the familiar framework of a murder mystery to tell a deeply political story about autonomy, visibility, and the high cost of speaking up. Even when the plot stumbles, the message never does.

Greengrass can conjure up some magic in those final twenty minutes as The Lost Bus, on all levels, feels like it’s in rhythm. Unfortunately, by the time it does, the film is winding down to its inevitable conclusion.

Ultimately, Pizza Movie’s title not only reveals a major plot point but also captures the film’s overall energy and weight. It’s generally enjoyable while being consumed, but afterward, it may not feel like a fully satisfying or nourishing cinematic meal.

All the ingredients for a good movie, or at the very least a fun one, are present in Cold Storge: A charismatic and talented ensemble, a clever story, and an overall sense of playfulness that extends from the effects work to the production design of the 24-hour self-storage facility built over the old government bunker used to contain the fungus. However, that sense of playfulness doesn’t extend to the overall tone, leaving the movie feeling like a wasted opportunity.

Just when things begin to feel like they’re leading somewhere, it dissipates in such an inorganic manner.

In its attempt to create extreme good vs. extreme evil characters, California Schemin’ schemes one click too far.

If one (somehow) completely ignores the utter ridiculousness of a musical performance anchored with mediocre singing (insert snarky Russel Crowe-related comments here, if you’d like), there’s still a lot of fun to be had from the film.

Claire Foy’s performance alone is reason enough to see it. She soars in a role that proves once again why she is among the finest actors working today.

As Normal barrels toward its conclusion, it’s easy to look past the way it glosses over in-depth characterization.

Despite being well shot and slickly constructed, “Faces of Death” doesn’t successfully bring the decidedly not-good but undeniably captivating spirit of the original film into the 21st century.

The Rip is serviceable largely due to the well-worn chemistry between Affleck and Damon. It delivers exactly what’s expected, leaving viewers mildly satisfied in the moment, but unlikely to think about it again long after the credits roll.

While The Devil Wears Prada 2 isn’t too sweet, it could certainly use more sour notes. The callbacks to the first film get the balance mostly right, but outside of those nicely judged moments, the film can sometimes feel like Miranda struggling with the new HR guidelines: Trying to be biting, but turning out toothless.

While what we see on the streets of Seattle is engrossing and, at times, even startling, the lack of a singular protagonist keeps us from becoming as emotionally invested in the ultimate outcome of the protests as we might.

Good Fortune is an amusing effort from Ansari, but one can’t help but leave it wanting a bit more, especially from someone of his caliber of talent.

Despite its faults, Song Sung Blue is a sentimental, deeply non-cynical film that practically anyone can enjoy, and is sure to be a holiday-season winner.

It’s easy to wish “Black Phone 2“ came together better, but you can’t deny that all the film’s individual elements are quite strong. It will chill you to the bone while watching, but it won’t haunt you for too long afterward.

Anchored by another admirable performance by Fiennes, it mines its milieu effectively enough. Even if the end result doesn’t quite live up to the majesty of Elgar’s opera, or even the truly transformative societal shifts that the Great War wrought on this land, there’s enough to admire about what takes place on screen in this telling to recommend it.

The film struggles to find an effective core focus that ties all the narratives together in a cohesive and entertaining manner. Ultimately, Fuze lacks the precision in its writing to make the twists and turns worthwhile.

Without a shred of embarrassment or irony in sight, The Napa Boys is a film made by people who believe in their sense of humor and hope to share it with audiences in a crowded room to laugh together.

Can we, as a society, radically accept someone for who they are today, despite who they were? This is a fascinating question, a ripe one to ask in a narrative, and, for the most part, Borgli succeeds in addressing the multiple sides of the query that will entice many heated post-movie conversations.

Sure, the characters are paper-thin and do many things that defy all logic and common sense, but that’s part of the fun. Primate is bad in many of the ways you’d expect, but it’s better in many ways you won’t. It’s the best kind of January surprise.

Even in a flawed film like this, the action remains inventive.

The film’s powerful message will resonate strongly with audiences, and while its conventional nature holds it back from true greatness, it makes the most of its strongest elements.

There are luminous glimmers of promise scattered throughout “Sheep in the Box,” and each speaks to a filmmaker of immense creativity and thoughtful sensibilities—unfortunately, those glimmers amount to a disappointingly disorienting feature.

Perhaps “Lorne” entertains more than it informs, but somehow, that feels exactly right.

In the end, Magic Hour is quite a mixed experience. There are plenty of real, raw emotions on the screen and the page, but the screenplay feels too repetitive and surface-level for most of the runtime.

While director Stephen Chbosky and writer Liz Maccie have the heart in the right place with Nonnas, honoring generations of family tradition, a formulaic approach limits how far this inspiring story can go creatively.

Denis’ directorial prowess stems from her immaculate compositions, an iconic aspect of her oeuvre that’s diluted by her overt reliance on Koltès’ dialogue-dependent source material.

At the heart of it, perhaps Wright just wasn’t the right fit for this story, as many of us had hoped he would be. That being said, what he’s able to get out of Colman Domingo as “The Running Man” host Bobby T is worth the price of a ticket alone. If anything, like most films, it could’ve used more of Domingo.

Swapped is a perfectly serviceable animated film that younger viewers will connect with. Unfortunately, despite flashes of inspiration, it suffers from dreaded forgettability; it’s too reminiscent of recent, better films with similar plots, tropes, and themes, and never quite finds the spark it needs to stand out.

Picture This may not be the most unique story, nor does it reach the pinnacle of the rom-com genre. But the film finds enough moments of freshness and earnestness in the protagonist’s journey to stand out in a sea of generic rom-coms. Ashley’s incredibly charming performance is the most compelling highlight of the film.

Lacking focus in the writing and direction, the film ultimately falls short of crafting a satisfying journey for the viewer to follow.

What’s present here is one of the most visually horrid and banal “Star Wars” creations to date. Is the allure of getting children in a theater to see Grogu enough to keep this franchise afloat and, more importantly, on the big screen? Who’s to say, but if it’s any indication of what the next decade of storytelling for the “Star Wars” universe will be, then we’re in deep trouble.

Bunnylovr is another attempt to examine the melancholy that is especially prevalent among the young. What it gleams is an intriguing portrait, but it is also inconsistently engaging.

This film may be more memorable because of its filmmaking, but it’s all sound and fury, amounting to very little. The momentum is lethargic, the characters shallow, and the narrative lacking any sense of intrigue from the romance that is supposed to anchor it.

You’ll know where Goodbye June is headed very early on, but that doesn’t mean there’s not enough here to enjoy along the way.

Keeper may not be as deeply horrifying as “Longlegs” or as darkly funny as “The Monkey.” Still, it demonstrates Perkins’ continued evolution as a filmmaker. He refuses to make the same movie twice, using horror as a way to explore new stories, emotional territory, and deploy new tones and techniques.

If you’re looking for a brisk bout of debauchery and family shenanigans, Alex Winter’s latest chilly tale may well be something to be warmed by.

The potential for a much more engrossing venture is sadly bypassed for a merely passable showcase.

Silent Night, Deadly Night is no great piece of art, but in the same way that candy stuffed in a stocking is far from a five-star meal, it doesn’t matter to those seeking it out, and it’s enjoyable all the same.

Those who yearn for a return to Brat Summer will find themselves happily bumpin’ that, but any viewers who feel nothing at the sight of the color tennis ball green would do well to pass.

Hailey Gates shows a lot of exciting promise behind the camera.

Rather than feeling like the kind of culture-shifting moment the original film became, this remake is more of a shrug, destined to be sadly scrolled past by disinterested streaming audiences.

Although the story only gets more and more unsatisfyingly perplexing as it goes on, the filmmaking tools used to tell it are exceptional.

It wants to speak to the hauntings of history, the burden of Black inheritance, and the strange ways guilt manifests. But the film’s ambition often outpaces its clarity. At its best, it captures the surreal pain of being tethered to a past you never asked for. At its worst, it’s a philosophical fog.

Mermaid, despite its flaws, is enjoyable enough for its unique depiction of mermaids and its portrayal of a “Florida man” come to life. Sure, the title is unoriginal, but its presentation is not. Of course, it’s nowhere near as good as “Splash,” but it doesn’t need to be.

At least Sokolov gives Beetz a moment to shine and become the action hero she deserves, but the film’s more inventive set pieces, such as the air-duct crawl, don’t outweigh how underwhelming “They Will Kill You” is at the end of the day.

What could have been an effective investigative drama and character study loses all momentum in the film’s structure.

Yes, Reminders of Him is very much an ordeal, but not so much because it’s bad. It’s an ordeal because of all the emotional muck these characters have to drag themselves through to get to the other side.

As someone who absolutely loves any kind of a crime film, “How To Make A Killing” can be entertaining at times as a morality play wrapped in designer suits and generational spite. It’s juggling a lot more than it needs to, and it never fully synthesizes its most perceptive ideas, but it’s powered by another star performance from Powell, keeping it barely afloat.

A flimsy plot and uninteresting characters would be tolerable if the dramatic moments of intense destruction were more intriguing. Instead, the palette is wholly bland and lifeless, unsupported by the framework of the storytelling and performances. A handful of impressive scenes come nowhere close to saving this picture. It’s disappointing that one of the most unexpectedly entertaining films of the last few years has led to a banal, forgettable project.

If anything, Tron: Ares is less a film than a cinematic pin dropped in a franchise map that’s going absolutely nowhere.

It provides the thrills, but leaves the audience hungry for a story with actual depth to its waters.

Gavras awkwardly swaps politically charged potency in exchange for an unmemorable satirical take-down of those contributing to our planet’s ongoing environmental destruction.

What’s most frustrating about Lee Cronin’s The Mummy is how tonally inconsistent it becomes. Yes, it finds a way to inject some delightful horror imagery that’s captivating, at least in the way that repulsive acts of over-the-top carnage can appease those sickos out there. However, this story does not come across as if that tone was top of mind.

Even when the story stumbles, Berger’s technical skill and Farrell’s all-in performance keep it engrossing.

For some, its extremity will be alienating; for others, its audacity will be exhilarating. “Rosebush Pruning” is undeniably well crafted, but as an absurdist comedy, it ultimately feels more provocative than profound.

By the end, Play Dirty feels less like a fresh Shane Black comeback and more like another casualty of the streaming churn, loud, empty, and forgettable.