Weir is beyond amazing, out-cursing Linda Blair's Regan from The Exorcist, out-dancing M3GAN, and out-terrifying the child with the garden-trowel from Night of the Living Dead.

Destroyer is all about Kidman as tortured, haggard detective Erin Bell. A single look into those bleary, bloodshot eyes alerts us to the fact that this character has been through the wringer. Destroyer is a forensic study of how Bell got this way. The trick, I suppose, is making us care.

I was ultimately less enthralled with the final film than I was with some of the performances in Cuckoo. Stevens and Schafer are amazing, and Bluthardt makes an excellent oddity, a convenient ally with his own mysterious agenda. But Cuckoo can’t quite bring all its disparate elements together into something cohesive and coherent.

As you might expect from King, The Monkey is dark, ruthless, and violent. What you might not expect is just how funny it is. Like, it's genuinely hilarious.

Rams is a film that goes its own way, settling like a cozy sweater made from beautiful sheep.

DeBlois elevates a beloved cinema memory and creates a spectacle, a mythical fairy tale—Game of Thrones lite—with enough DreamWorks Animation magic to warrant its own theme park ride.

Sadness is the dominant emotion in this film, not fear. While there are those moments that will accelerate the audience’s hearts, there are also those moments that will open them. After all, zombies were once people, too.

Rosaline is a delight from start to finish, a brisk, bright-eyed, and inventive romantic comedy with constituent parts that probably shouldn’t work this well together but do.

There is joy in seeing this gifted ensemble have fun with their broadly scripted characters with Los Angeles in all its trashy splendour backdropping it all. But this angel comedy doesn’t quite reach for the heavens.

For a film that’s about decades of interstellar aimlessness, Aniara seems hopelessly rushed and superficial.

But what lands with Land is underwhelming; not quite a disappointment but considerably less than what was hoped for given Wright’s professional toolkit and the endless possibilities a subject as complex as profound grief offers.

What shines through in all these performances — and in recollections by Wilder himself and others — was a man dedicated to his craft and excited about the creative process.

I’d almost recommend seeing the first act of Song Sung Blue and then heading home in high spirits. But it would be wrong to whitewash real life (rewrite it a bit, sure).

This is pared-down storytelling that leaves you to draw your own conclusions, but nobody’s dreams are coming true here. Filmmaker Franco seems to assume his viewers will be paying attention, so Dreams is a typically understated affair, just slightly chilly in its detachment and stripped down in action and in dialogue. Money talks, though.

Typical of a certain kind of Sundance feelie comedy, Before You Know It is both promising and exasperating enough you’ll probably leave the cinema thinking of ways it could be improved.

It’s a decent, eye-catching, stay-the-course addition for Cameron, who has pretty much turned his entire career to this franchise, a la George Lucas with Star Wars.

Despite some impressive kills and a respectable body count, Heart Eyes is more romcom than slasher. However, it's a genre mishmash that creates a wholly unexpected delight. Imagine Jason Voorhees stumbling onto the set of Sleepless in Seattle or an entry in the Scream franchise directed by Garry Marshall.

Ambitious in the sweep of history that it chronicles, it’s a sometimes entertaining, often sordid movie about movies in the earliest Hollywood era. At a running length of just over three hours, it both makes its point, and overstays its welcome.

There are two types of pirate film fans: those who love the genre for its thrilling adventure. Then there are the fans of actual piracy, the more bloody and violent the better. The Bluff combines the salt and tang of piracy with a daring, bloody fight to the finish that will satisfy fans of all ranks and allegiances.

The movie looks great. The casting is wonderful.

Although [McCartney] uses her personal connection to the studio as the premise, If These Walls Could Sing ends up being a worthy history of a building that, for more than 90 years, has seen and withstood changes in music and technology, and still retains the magic that came from what the Beatles accomplished there.

Dog is a bumpy, unpredictable ride because that’s what our heroes are on, but it’s all delivered with a gentle touch and authentic feeling that assure us that Briggs and Lulu are heading in the right direction.

Two Women, for all its entertainment value, is silly and shallow, though deeper than porn, it must be said.

Ultimately, Spoiler Alert is earnest, emotional, good-hearted and edgeless.

These images are intriguing and intermittently beautiful, but the technique gets repetitive, and the gap between the visual lavishness and the so-so script is distracting.

Middleton plays Abby with a pleasing note of vulnerability that is often supplanted by a nagging anticipation she’ll tip off the edge. She and Gross have smooth chemistry as estranged sisters.

There’s still plenty to admire: Derrickson’s eye for atmosphere, the bleakly beautiful snowscapes, and a handful of effective scares. But where The Black Phone haunted you with what might happen, Black Phone 2 simply tells you what will.

The White Crow is really “Nureyev before Nureyev,” and it’s a struggle to sort out its purpose.