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

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.

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.

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.

The story still isn’t the most captivating and has another bit of frustrating sequel bait that muddies some arcs towards the finale, but it has a clearer sense of focus, at least putting the exciting sequences to the forefront. The filmmaking still has a bit of a stiltedness to it, but it leans further into an energizing tone that is far more engrossing.

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.

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.

For the most part, Family Movie glides along on the geniality of its cast and Kevin Bacon’s light touch as a director. There’s not a whole lot of style to speak of, but the film looks good, and it moves along at a solid pace.

It’s nowhere near the reflective dissection of the complications of modern love it wants to be. However, it’s still a solid entry into a consistent filmography from a filmmaker like Swanberg.

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

On A String is a gentle film; even its more satirical elements aren’t particularly prickly. That softness, combined with extremely low dramatic energy, unfortunately, means that it’s not always the most enthralling film, and its abrupt ending (and super short runtime) gives it the impression of inconsequentiality.

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.

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.

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.

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.