Keeper may not be as deeply horrifying as “Longlegs” or as darkly funny as “The Monkey.” Still, it demonstrates Perkins’ continued evolution as a filmmaker. He refuses to make the same movie twice, using horror as a way to explore new stories, emotional territory, and deploy new tones and techniques.

It’s a fitting end to the Warrens’ cinematic journey and a graceful farewell to a franchise that gave us more than we ever expected.

A near-perfect parody chock full of witty wordplay, ingenious physical comedy, and diabolically clever sight gags.

If you’re looking for a brisk bout of debauchery and family shenanigans, Alex Winter’s latest chilly tale may well be something to be warmed by.

Ronan Day-Lewis makes a superb debut with this expressively shot and scored tale of familial reconciliation. The cast, led by the great Daniel Day-Lewis, is uniformly spectacular.

The potential for a much more engrossing venture is sadly bypassed for a merely passable showcase.

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.

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.

Hailey Gates shows a lot of exciting promise behind the camera.

You, Me & Tuscany has all the right ingredients; the recipe’s just a little off. Throw in a little more spice and add some depth to the central romance, and the next time Page and Bailey do this together, they might just make a classic.

Rather than feeling like the kind of culture-shifting moment the original film became, this remake is more of a shrug, destined to be sadly scrolled past by disinterested streaming audiences.

Instead of the sharp satire of modern-day relationships it starts out as, “Over Your Dead Body” becomes a gross-out comedy in its second half. While it’s very good in both of those modes, it can’t help but feel a bit disappointing that it takes such a sharp turn from something that’s both fun and perceptive to something that’s just fun.

After the Hunt struggles to decide precisely how it wants to approach its examination of the (to reference one of Alma’s teaching topics) panopticon-like method of dealing with allegations of amorality in today’s society. But thanks to Guadagnino’s strong filmic choices, Trent Reznor and Atticus Ross’ unnerving musical score, and striking performances, it still manages to draw audiences into its chilling, unsteady world effectively.

Although the story only gets more and more unsatisfyingly perplexing as it goes on, the filmmaking tools used to tell it are exceptional.

At times, the roundabout structure of “Couture” can make for a plodding watch, and leaves some character development to be desired. But there’s a spellbinding quality to Winocour’s direction; she glides from one woman’s perspective to the next somewhat obliquely. In doing so, she unearths gems of inner conflict in characters who are withholding so much about their personal lives just to do their jobs and get through the day.

It wants to speak to the hauntings of history, the burden of Black inheritance, and the strange ways guilt manifests. But the film’s ambition often outpaces its clarity. At its best, it captures the surreal pain of being tethered to a past you never asked for. At its worst, it’s a philosophical fog.

You don’t watch a movie like this for character or dialogue, you watch it to see fierce, strong young women twirl, kick, and stab their way through a pack of mobsters to the sound of Tchaikovsky. On that front, Pretty Lethal delivers. Brava, ladies!

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.

Yes, it’s ridiculous. No, it doesn’t make perfect sense. But, damn, if it isn’t a hoot and a half to watch.

At least Sokolov gives Beetz a moment to shine and become the action hero she deserves, but the film’s more inventive set pieces, such as the air-duct crawl, don’t outweigh how underwhelming “They Will Kill You” is at the end of the day.

What could have been an effective investigative drama and character study loses all momentum in the film’s structure.

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.

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.