Rare are comedies this funny and this mature. Its rich themes hit home, especially for anyone in a long-term relationship.

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.

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

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.

Even with relatively minor quibbles, it’s hard not feel appreciation that a contemporary movie made in an uncompromised fashion about such a cinematically unpopular topic as sex exists at all. Hopefully, Araki doesn’t take another 12 years off and continues to probe into other areas of modern human interaction.

Wilson manages to weave in a nearly non-stop barrage of jokes into the 100-minute runtime, while still keeping the tone lowkey. Though the film starts to lose steam toward the end, feeling as though it might have struggled to fill the feature runtime, it never stops being funny.

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.

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

Wasteman might be one of the bigger surprises this year at the Toronto International Film Festival and certainly one to keep your eyes on.

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.

“Fiume o Morte!,” a reference to D’Annunzio’s slogan “Fiume or death!,” is a brilliant, subversive takedown of fascism, ruthless in its pushback against this embarrassing chapter.

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.

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.

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.

Even with crafts that, at worst, could be described as serviceable, the narrative and performances are so captivating that they more than compensate.

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

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.

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.

Zak Hilditch has crafted a harrowing, unsettling zombie movie that totally enmeshes the audience in its collapsing world.

Despite the constant threat of censorship (or worse), the reporters still manage to find joy and even humor in their daily lives. That comedic energy grows increasingly dark and even apocalyptic as the situation becomes more perilous, but “My Undesirable Friends” shows that the power of human connection and the fight for justice and freedom endure even in the most oppressive settings.

This quietly moving documentary takes a hands-off approach, which allows audiences to organically meet the film on its level. This method lets the farmers subtly present the central conflict that’s most affecting their lives and livelihoods. The gorgeous black-and-white photography gives the film an appropriate sense of timelessness.

While it’s impossible not to be moved by Holding Liat, Kramer also challenges his audience to consider the situation in Gaza carefully and really question what is best for the region going forward.

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.

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.

“Fire and Ash“reaffirms Cameron as one of our greatest storytellers and the Avatar series as the pinnacle of Hollywood blockbuster entertainment.

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.

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.

The culmination of Soto’s themes mixed with his comedic prowess produces an insightful meta-meditation on the meaning of creation. Its rewarding contemplations conclude its saga of misfortune with the power of the spoken word — wrapping the protagonist’s search for creative consolidation with a heart-rending bookend.