While the film falls into the same pitfalls most celebrity documentaries are bound to repeat, Alvarado not only crafts a suitable tribute to one of the more underappreciated artists in American history but also shines a light on a subset of Latino culture that deserves its time in the limelight.

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.

V/H/S Halloween is a terrifyingly worthy addition to the ranks, excitedly and expertly bringing gorgeously gory and gratuitous fun to fans who love that stuff the most — and god are we grateful for it.

The Shitheads is one hell of a ride, with nonstop laughs and absurd, shocking turns around every corner.

“Infinity Castle” doesn’t feel like a movie so much as a wobbly, but often entertaining, first third of a season of television. Mileage will vary if we should grade on a curve knowing it’s the first part of a planned trilogy, but for my money, if you pay for a movie ticket, you deserve a movie ticket ending.

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.

With Drucker single-handedly carrying the film’s emotional core on her shoulders, any minor quibbles instantly melt into afterthoughts, while her exquisite work remains at the forefront.

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.

Verbinski directs with a striking visual style that punctuates the film’s many sight gags while establishing a grunge-inflected aesthetic suggestive of impending urban decay.

Roofman is another standout film from Cianfrance who continues to pull us in with fascinating character studies and explorations of humanity. Tatum delivers on every level, giving one of his very best performances thus far in his career, and Dunst gives so much through her subtle, emotional work.

In a heightened depiction of the hyper-privileged, “Succession” drew parallels to the real world. The balance between absurdity and glimmers of sympathy in such morally corrupt characters made the show an irresistible watch. A feature-length doom scroll from the perspective of out-of-touch, not-so-sympathetic billionaires is a little harder to digest.

Led by a remarkable Cillian Murphy and featuring a stellar supporting ensemble, "Steve” strikes an empathetic chord by placing mental health concerns at the forefront of discussion.

An enjoyable, meaningful, (mostly) sharply-scripted farewell to the beloved series.

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.

The story strains to keep momentum as it juggles twists and character threads, and while Aronofsky ties things together in a satisfying way for some, others may find the ending underwhelming. Still, in a summer crowded with blockbusters that failed to meet expectations, Caught Stealing stands out as one of the few worth revisiting.

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.

Johnson, giving the performance of his career, along with excellent work from Blunt and Bader, makes an inconsistent screenplay not only watchable but entertaining and deeply moving.

With magnetic leads and Julia Jackman establishing herself as one of the most exciting new voices in British cinema, the film pulses with inventiveness and heart. It’s a fairy tale like no other, boldly queer and unapologetically feminist, a cinematic feast of humor, emotion, and rebellion.

This is a thoroughly enjoyable mixture of period drama, romance, and a coming-of-age story that’s extremely rewarding in its thoughtful central theme of the connection between past and future.

Leading with sincerity, Hikari makes a moving love letter to the people and places of Tokyo. Brendan Fraser performs with his heart on his sleeve, which lends perfectly to the film’s concept.

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.