Like a stack of silver dollar pancakes at IHOP, Bad Dads is more a collection of episodic situations — one at a school fundraiser, the next at a desert casino — rather than a traditional movie. It’s a structure that reinforces the feeling that you are watching a sitcom that has been fused together rather than a movie.

The result of so much consecration and loyalty to the subject matter is a movie of uncommon exhilaration.

In the end, I recommend seeing it, but I think Killers of the Flower Moon is the kind of movie you respect and admire without much actual enjoyment. With all the evident hard work, dedication and fidelity to facts, it’s still an hour too long and not a film I would ever want to see twice.

Aside from the odd character work in the latter portion of the movie, Green Border remains a righteous, infuriating and woefully compelling watch.

Kaluuya, who grew up on a council estate in Camden, clearly has a personal stake in The Kitchen. The actor has previously written short films, but this marks a solid debut feature for him that is stronger for its adept comment on the British class system.

A real-life story with social issues about capitalism that is entertaining and funny while it makes you think, without being too earnest and serious.

There are moments of beauty and simplicity, but not nearly enough to sustain a feature. There’s meaning to be wrung out of extended shots of trees, lumberjacking, and deer skulls, sure, but the movie’s ambivalence gets old quick.

Rohrwacher’s storytelling is inviting, unique and engrossing; every moment pulses with life and history, and it’s easy to get sucked into a world that’s just slightly different from our own.

Written and directed by Garth Davis from a 2018 novel I never want to read by Iain Reid, Foe is not just a bad dream. It’s a colossal nightmare.

Written and directed with muscle and grit by Kitty Green, The Royal Hotel is loaded with grim ambiance, and there is even some suspense, mainly while the viewer waits to see if anything will ever happen.

Believer is a film wherein everyone’s effort — effort to underline a message, effort to deliver a nuanced performance, effort to be visually interesting, effort to shock the audience — is all a little too visible on screen. Intellectually, I can get behind almost all of it, but on a gut level, the level where horror lives and breathes, it does very little for me.

A brutal, chilling indictment of capitalist colonialism, The Settlers mixes shocking violence with acute apathy.

Miyazaki announced his retirement a decade ago with his meditative The Wind Rises, but the legendary filmmaker has returned, thankfully, to deliver one of his best, most imaginative and mature movies yet.

Filmmaker Andrew Haigh strikes gold in this moving, heart-wrenching drama about the lasting trauma of grief, isolation and the all-too-human fear of loneliness.

While The Caine Mutiny is a showcase for its actors, it doesn’t put much else on display.

You want no part of this story in real life, but it’s so much fun to watch.

It is not the messiah of genre cinema; it’s a very good, perhaps great, futuristic epic that will leave you with something to talk about afterwards.

It’s mildly entertaining, sure, but as aspirational wish fulfillment it’s not particularly impactful.

What the film does effectively is revitalize Welles’ work by viewing it through the lens of media consolidation, government repression of art and leftist thinkers, and social justice.

El Conde is not Larraín’s best work, weighing itself down with plot and a few too many ideas to properly explore, but it is still quite good. Few directors take risks this big, and though this film doesn’t yield the most rewards, it’s a fascinatingly project.

Not a bad film, just a dull and inconsequential one. here today and gone tomorrow.

Like many third iterations, this one shows signs of the creative team growing bored with what made the story worth telling in the first place.

The movie needs more of that charisma and fewer cigarette butts to make Golda a woman as memorable on the screen as she was in real life.

The point finally arrives when you realize an initially interesting plot ceases to make much sense, the screenplay by Christopher Salmanpour is nothing more than a series of elaborate red herrings, and director Nimród Antal has nothing to do but increase the noise level and blow up as much of downtown Berlin as legally possible.

Bottoms is a brilliantly bizarre movie that pushes boundaries and packs a punch—literally.

As sports biopic, Gran Turismo is solid. As a video game adaptation, it feels like some of the key elements still haven’t downloaded.

The movie, which hovers between ridiculous crass comedy and oddly touching moments of sweetness, is completely inane. But that silliness may also be what makes it somewhat endearing and, certainly, entertaining.

Landscape with Invisible Hand is a cutting satire about economic imperialism, the commodification of culture, and the degrees to which human beings are forced to debase themselves in order to survive.