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.

Jennifer Lopez and Tonatiuh give exceptional, electric performances. The musical sequences are stunning, thanks to thrilling dancing and gorgeously old-fashioned designs.

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.

This isn’t just some quirky look at an obscure American event and subculture or a love letter to the filmmaker’s home state; it’s a sly indictment of 21st-century America, wrapped up in what looks like a trashy thrill ride. It is pretty thrilling, to be sure, but much like how our intrepid hunters learn that the hunt is much more driving around in the dark than stalking and killing snakes, it’s not what you expect. For both the hunters and the audience, that’s for the best.

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.

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

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.

In Your Dreams doesn’t reinvent the animated adventure, nor does it need to. It’s a whimsical, sometimes chaotic journey that effortlessly balances humor, imagination, and heartfelt emotion.

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.

This is a powerfully intense erotic drama that exposes its central character’s exploitation of both the wealth gap and the age gap to devastating effect. Here’s hoping Chastain’s collaboration with Franco continues because they are doing exceptional work together.

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

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.

Charming and truthful, this excellent film about the perils of the gig economy serves as a metaphor for the ruthlessness of the free market at large. Bastien Bouillon gives a terrific, grounded lead performance.

Thanks to Ahmed and Karia’s creative collaboration, this new version of a man caught between expectation and collapse, tradition and insurgency, love and fury will hopefully find its way to a new generation that has never experienced Shakespeare’s timeless story before.

The prevention of the rise of similar evil is an unending project needing similar vigilance and tenacity as expressed by many of those captured here on screen in “Nuremberg.”

It is a classic underdog story wrapped in bold animation, infectious energy, and real heart.

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 whole film has a surfeit of personality, thanks in large part to the multi-hyphenate Russo’s distinct voice permeating every aspect. In addition to writing and directing, Russo also edited and scored the film. That level of control may seem like a lot, especially for a first-time filmmaker, but when you have a vision as specific as Russo does here, it makes sense.

This is a powerful, well-made, urgently topical thriller that should put writer-director John Swab firmly on the map.

A deserving conclusion to this era of the Peaky Blinders as Cillian Murphy remains in top form alongside Barry Keoghan who fits right into the world.

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.

Amazingly, Coppola’s intimate portrait manages to have mass appeal, thanks to both her entertaining approach and Jacobs’ down-to-earth, relatable personality. It turns out the pair work well together, leading to a film that both label chasers and thrift store fanatics will love.

While it falls short of the brilliance of the “Nebraska” album itself, Cooper’s against-the-grain approach offers a refreshing antidote to the formulaic music biopic, delivering a bleak yet moving exploration of an artist in crisis.