A feel-good fairy tale that collapses under the weight of its own silliness, Red, White and Royal Blue is a gay rom-com that dazzles visually but defies all attempts at anything resembling plausibility.

Sachs gives his actors the space to develop complex characters that make us feel their unhappiness and disillusion. The film captures the moods of relationships in transition without ever being condescending or judgmental. The sex scenes and nudity are so graphic that it’s safe to say this is not a film for everyone, but is as relentlessly moving as it is fascinating.

A fact-based film about the life-altering pain of failure, the thrill of belated success, and the challenges inherent in both, Dreamin’ Wild is a testament to a musical family who epitomize the old saying “No matter how long it takes, if you wait long enough, your dream will come true.”

It’s an odd and unfortunate shift for the sequel that leaves its action wanting, especially since it’s steeped in the genre of shark-based silliness.

There are some pretty shots of nature and a few stabs at humor, but don’t be mistaken—this movie is background noise at best.

Simien has created a thoughtful movie experience that feels diverse, funny and visually interesting. Those expecting an exact recreation of the ride won’t find it here, which may be for the best. Despite a few cartoon-y scenes, Simien and his cast elevate Haunted Mansion to a thoroughly entertaining and oddly emotional good time.

The entertaining surrealism that energized the opening movements fizzles out as the film reaches the third act, the reveals of which are both mundane and expected.

It is infectiously delightful, even if you’re someone who might typically steer clear of chipper, pink-hued flicks. Somehow Gerwig has struck a balance between unhinged whimsy, deep humanity and comedic bliss. It’s funny, it will make you cry and it feels almost like a rebellion.

Simultaneously a biography, a mystery, a polemic, and a dense character study, Oppenheimer feels like the film Christopher Nolan has been preparing to make his entire career, and it may very well be his best work.

It’s not dull, you won’t dare doze, and there’s something to be said about a cast of bloodthirsty carnivores in the middle of an actor’s strike.

The sense of joy that emanates from nearly every frame of Theater Camp, a film that arrived like a burst of July sunshine in the January frost of this year’s Sundance, is as palpable as grease paint and every bit as sweet as bug juice.

Sweet and well-intentioned but bland and disappointing, The Miracle Club is one of those slow, meandering Irish dramas that inspire more respect than excitement.

By presenting this crucial cultural phenomenon in a staid documentary form and in the reverent tone of a hushed docent, The League has the unintentional impact of making Black baseball seem like ancient rather than living history.

This time around, super-spy Ethan Hunt feels overshadowed by star and producer Tom Cruise and his own unquenchable desire to climb buildings, cling to airplanes, and sprint across rooftops. It makes for a great theatergoing experience, but not necessarily a great film.

The Out-Laws may not be for everyone, but two things are for sure: DeVine has the potential to be a major comedy star and Brosnan needs more roles where he doesn’t have to play serious. The rest is a welcome distraction for a Friday night at home.

The saga of the guy who was the Tom Cruise of the 1950s now forms the shadow and substance of a funny, sad, meticulously researched and painstakingly detailed documentary, Rock Hudson: All That Heaven Allowed.

Directed by Catherine Hardwicke, whose debut film Seventeen showed great promise, this maudlin soap opera is a disappointment, despite a strong performance by the extraordinarily gifted veteran actor Brian Cox. He makes every moment he’s on the screen throb with understated honesty, but Prisoner’s Daughter doesn’t boast much of anything else worth remembering.

Loren & Rose is the kind of exemplary film that depends on the value of feelings expressed through words. Fortunately the economical direction and illuminating dialogue, triumphs of nuance and revelation, are both by Russell Brown, a pliant and meticulous filmmaker worth keeping an eye on.

Like all Wes Anderson movies, it is enigmatic, artificial, infuriatingly self-indulgent and irrevocably pointless.

There are some forces, like Ford’s magnetic presence on screen and our affection for one of his most epoch-making characters, that remain undimmed by time.

Expertly mounted, beautifully acted and meticulously detailed, it’s another harrowing Holocaust drama in the line of endless films about World War II, notable primarily as a rare entry in the filmography of Vadim Perelman, the highly regarded director of House of Sand and Fog.

The Flash is no genre-redefining masterpiece and it’s unlikely to appeal to viewers who aren’t already bought into the superhero oeuvre, but it’s a much better movie than what’s being advertised.

Pixar’s Elemental is a movie about failing infrastructure, though that may make it sound more interesting than it actually is.

Spider-Man: Across the Spider-Verse is as feverishly inventive in its visual presentation as it is slapdash and anemic in its storytelling.

The Boogeyman, a pointless, misguided and totally incomprehensible waste of time, is yet another horror film that exists for the sole purpose of exploiting the endless desk-drawer doodlings of writer Stephen King.

Song has crafted a deliriously honest romantic drama that is utterly singular even while it calls to mind everything from Richard Linklater to Wong Kar-wai to David Lean’s Brief Encounter. This is a movie that flows over with patience, forgiveness, and tender wisdom — qualities all the more wondrous for their relative absence from modern society and its movies.

This one is certainly different. That doesn’t mean it’s good. It’s just different.

Holofcener is a master at these microcosms, which feel like a glimpse into someone’s actual life. She show it to us with empathy and curiosity in a way that feels oddly revolutionary. There’s no VFX, no stunts—just a few people attempting to navigate the ups and downs of human existence.