A handful of compelling sequences of physical action cannot save a narrative weighed down by a mundane plot, pedestrian characters, and an intolerably sluggish filmmaking style.

All in all, Propeller One-Way Night Coach may be slightly more interesting from a meta perspective than a strictly cinematic one. Still, the sincerity that permeates every frame makes up for a lot of its shortcomings. It’s unlikely to cater to many people outside of Travolta’s most ardent fanbase, but even on those terms, it’s an enjoyable way to spend an hour in the sky.

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.

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.

Ultimately, Blackhurst’s new film is an unmissable horror gem that heralds the arrival of both a fresh new horror voice and an electrifying new villain for the ages.

Joker: Folie à Deux does many things right to deliver a fresh and unique sequel to the dark story of Arthur Fleck.

The whimsical tone becomes repetitive at times, and the recurring flashbacks to Antoine’s relationship with Irene often slows the film’s narrative momentum. Additionally, the film nearly collapses under the weight of its lofty ambitions in the final act, only to dodge a potentially disastrous conclusion. However, the believability of Antoine and Suzanne’s shared journey holds firm.

Kogonada channels something, often in the replication of the works of Jacques Demy and Hayao Miyazaki. Yet, it isn’t enough when the central dynamic at its core fails to elicit the yearning spirit that makes any viewer hopelessly head over heels.

This new Anaconda does have some occasionally clever bits, and a smile can indeed stretch across your face from time to time. But those moments are fleeting, buried under a sea of other jokes that don’t land and a cash-in on nostalgia that is never really warranted.

Though James does her best with what she’s given, this movie doesn’t provide a full and rich look at Wolfe Herd’s life, who is certainly a lot more than just her career achievements (they are immensely impressive, but shouldn’t define her).

Wyatt’s big-budget foray is an oddity, as it feels like it should be truly epic and a film for Hollywood studios to gobble up, but something went seriously wrong when making it.

Parallel Tales unspools away from sense and a compelling drive and instead turns out to be a monotonous, limp misfire.

Despite its flaws, the cast, while underused, is a powerhouse, especially Knightley, who remains magnetic. It’s just that “The Woman in Cabin 10” never manages to transcend its setup.

With the help of a superb makeup team, Billy Zane delivers an impressively complex performance as the enigmatic Marlon Brando that stands in stark contrast to the rest of the comedic film.

What makes the film succeed, as much as it can, is that sincere commitment to advocating decency in a chaotic world. It demonstrates this ideology not only through its protagonist’s philanthropic ambition but also in how effortlessly charming these characters can be.

There are very dark chapters in Michael Jackson’s life that one would not expect a film with the full endorsement of his estate to approve. It’s understandable, even expected, for these kinds of works. But what makes “Michael“ come underneath that generously low bar is that it refuses to paint its subject as anything less than saintly. It truly feels like this version of Jackson has been deified, shown to be consumed by his talent but without any dramatic stakes to accompany his triumphs.

It all makes one wonder why any of the original team returned for a sequel that not only undoes some of the far more impactful emotional beats of the final season but also leaves audiences in limbo about whether they even want to see Jack Ryan suit up for another disaster to solve.

Him falters as a comedy and even more so as a horror film, rarely putting in the effort to build tension or create memorable scares.

It’s a mean, nasty neo-giallo, filled with the genre’s standards: gorgeously odd visuals, colorful lighting, disparate performance qualities, questionable morals, and brutal moments of sudden violence. To those who are prepared for it and willing to go hand in hand with Refn on his colorful, nonsensical journey, it’s an adventure to be remembered, like a nightmare that leaves an indelible mark on the psyche.

It feels good to have the Wayans brothers back where they belong, even if Scary Movie isn’t quite up to the level of the first film in the franchise. While it maintains that film’s strengths, the humor doesn’t feel as fresh as it once did. For all their willingness to offend, the Wayanses don’t have anything to say with their jokes, rendering them toothless.

Outcome has good intentions, aiming to show the real side of Hollywood, but odd choices muddle its results. It wants to have all these emotional moments and still be a funny take on Hollywood, but often one is frustratingly sacrificed for the other. It’s a shame considering all the comedy and showbiz experience Hill can bring to this project.

The Super Mario Galaxy Movie is inarguably fun, built for fans of the long-running franchise. For lifelong fans of this universe and young kids experiencing it for the first or second time, this is a Mario fan’s dream. There’s enough here to leave a mass audience satisfied, even if anticipation grows for the next film to level up. For now, good enough is simply enough.

The film’s refusal to engage with its own material and its franchise’s legacy may not be the only problem with “Scream 7,“but it’s certainly the biggest. For every good element, there’s an equally bad one. The performances are either good (Campbell has always been great as Sidney, but this may be her best performance in the franchise to date) or barely functional (Courtney Cox looks and sounds like she’s sleepwalking through playing Gale Weathers despite getting an all-timer entrance).

There’s certainly entertainment value in “Mercy,” especially in a late-film chase captured largely via dashcam, and in the film’s gamified version of criminal court, which has a video-game-like appeal. But with a concept so close to the real world, you need to engage with the ideas to connect with the audience beyond the surface, truly.

Regretting You is a baffling romantic drama that reinforces why this genre, despite its loyal audience, has struggled to evolve.

There’s simply nothing of value here, not even the thrill of an adrenaline rush from a cheap jump scare. Any attempts at shock are hollow and laughable. The viewer is likely to leave the theater feeling similar to how Josh Hutcherson appears in this film, understandably checked out, vacant, and simply worn down.

Whether you attended those shows, had your own musical taste shaped by those that took the stage, or are simply interested in a more detailed look at this impactful period of popular music history, Lilith Fair: Building a Mystery provides an excellent guide to this most epic of traveling shows.

It stands as a tribute to the power of storytelling, the influence of the moving image, and the enduring spirit of revolution in all its forms.

It’s a portrait that isn’t the most effective, but has enough pieces worthy of appreciation.

This is an accomplished debut for writer-director Bresser, a superbly acted and beautifully shot mystery thriller with a strong sense of place and some satisfyingly Lynchian undertones.

Oxman has a great directorial voice and uses close-ups and wide shots to allow the audience into her characters’ world.

L’Aventura is sometimes a messy, repetitive, and frustrating watch. But that may be the point. It tests your patience like a real vacation can, which makes it feel uncannily familiar.

The film is full of vibrancy and joy, enveloping us in an energetic community of the arts.

Pulling from personal and vulnerable archives, Birds of War gives voice to the people and gives us a grounded perspective on international conflict.

Cookie Queens excels at balancing a light-hearted energy with thought-provoking musings on entrepreneurial sacrifice and ambition.

Bodycam is an efficient little scary movie that has its share of scares, even if they’re nothing that horror fans haven’t seen before.

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.

While the film’s messaging isn’t always perfectly nailed down, it remains a powerful exploration of the terrifying fact that we are the architects of our own reality. It is a strong debut that proves Jessica Rothe should be in more things, anchoring a film that is gripping and unsettling.

While the structure can be a little too unfocused, Coixet’s subtle depiction of love and loss goes a long way, building to a memorable conclusion.

With a smart script that reclaims stigmatized narratives, they’ve made a thoughtful documentary that explores sex work through an imaginative and humanistic lens.

The School Duel is, at its core, a savage satire about a society so obsessed with its right to bear arms that it sacrifices its own children on the altar of nationalism. It dares to ask if patriotism has a limit and what happens when you blow past it. In doing so, Wiseman Jr. doesn’t just twist the narrative. He detonates it.

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.

It’s hard to see Groundswell in anything other than superficial terms. For one, it’s a pretty dull affair, needlessly repetitive, and feels much more like a corporate presentation than a cinematic event. Secondly, its mix of sullen seriousness and winking wryness makes for a tonally bizarre watch, lingering needlessly on given moments while brushing aside real questions of scalability given the global drive for food from an ever-exploding population.