The film is long and slow, but never boring. There is, however, a sense that the various storylines are not woven together completely.

It’s conceptually unsettling and bold, but there are some hiccups with the execution.

With its elliptical, patched-together structure and multi-year duration, Caught By the Tides can be a challenging film to follow but, by the end, it achieves something both original and rewarding.

In short, there is much to enjoy in Bonjour Tristesse, but the film as a whole never quite rises to the level of its best parts. And that’s a little sad.

Viewers are better served by submitting to the immersive thrill of it all, in the context of a film that doesn’t ask us to ask too much of ourselves.

Don't expect high heroic drama, but definitely be prepared for some laughs and even a bit of MCU canonical continuity, believe it or not.

Their creative process in action is just one of the cool archival treats in Cheech & Chong’s Last Movie, a jam-packed two hours of pop cultural hindsight that is part extended sketch, part couples therapy, and part traditional documentary.

Havoc is a frenetic action movie with tons of in-your-face violence and it’s kind of fun to watch — the carnage is so exaggerated that it becomes cartoonish.

Neighborhood Watch has a conventional story motif: the unlikely duo who can barely stand each other, team up and despite their own misgivings, in the end discover something about themselves that surpasses their original goal. It may be formulaic in its composition, but there’s comfort in this predictability.

On Swift Horses is best admired as a visual tone poem to the era, not so much a realistic story. The conceit of casting characters who seem too splendid for their surroundings evokes the movie melodramas of the fifties, the time of Elizabeth Taylor and Montgomery Clift.

Until Dawn is a gleeful reimaging of the classic slasher film, modifying the tropes enough to turn the familiar into something fresh.

It’s predictable but entertaining. Unrealistic, but it doesn’t affect the story too much. The relationship between Braxton and Christian has changed from the first film, but it’s a welcome, feel-good change in a story with lots of guns and an epic battle.

There are a lot of moments that are quirky, but the film never quite finds the right comedic rhythm. Things that should feel funny rarely rise to make us chuckle, and too often the film, which does have a genuine warmth, falls flat.

Odd but meaningful, Secret Mall Apartment, is an entertaining documentary about how a group of eight young artists secretly maintained an apartment — from 2003 to 2007 — in a hidden nook in the Providence Place, Rhode Island, shopping center.

Sinners, the new film directed by Ryan Coogler and starring Michael B. Jordan, needs no more than a one-word review; Stunning. Magical also works. So does unforgettable.

Psycho Therapy is a charming return to form for the adult comedy—dialogue-driven, character-first, and delightfully absurd. A smart and silly piece of narrative chaos that earns every word of its unwieldy title.

One to One does the couple a disservice, being too fragmented and random to declaratively or persuasively elevate them as cultural visionaries despite featuring abundant never-before-seen material and newly restored footage. Strictly for fans of Lennon/Ono or very deep 1970s nostalgia.

It Feeds delivers a layered and unpredictable narrative. Much of that independent energy comes from its strong ensemble cast: Ashley Greene, Ellie O’Brien, Juno Rinaldi, Shayelin Martin, Shawn Ashmore, and Scott Baker.

It would help if you were a deep-dive fan, hungry for ephemera and eager to hear stuff Young has rarely, if ever, played for an audience.

Drop is neither profound nor plausible. But it is timely and, as a cautionary tale told in an era where first dates can live or die on how often we glance at our phones, a lot of fun. But buying into the outrageous premise depends on your tolerance for high-stakes nonsense and your patience with neurotic dinner partners. Thankfully, I have experience with both.

A visceral cross-section of an Iraq War incident, related by the veterans who served there, Warfare stuns viewers into submission and leaves them with a grim apprehension of military service - albeit as close as one gets without being there.

Sacramento is a well-made, well-acted comedy drama that does just about everything right and almost nothing unexpected.

We Were Dangerous is a cracking good story and an auspicious directorial debut from filmmaker Josephine Stewart-Te Whiu.

Despite the presence and performances of the likes of Mira Sorvino and John Cusack, Fog of War fails to deliver what it promises: a war-time mystery filled with suspense and intrigue.

A new biopic of women’s wrestling pioneer Mildred Burke is nobody’s idea of a great movie, but it’s an entertaining cheese-fest with a lot of stagey charm.

It’s a lovely, quirky tale, full of ruminations on regret, love coming from (and directed to) unexpected quarters, and a bizarre broken faucet that won’t not work.

A gentle and affecting drama from directors David Siegel and Scott McGehee about grief, loss, and the unconditional love available from a dog.

Oliveros keeps the pressure high in his briskly running film that’s propelled by a bloopy, squelchy soundtrack and a volley between harried behind-the-scenes scenes and stage-managed on-set pieces. The script drops enough red herrings to keep everyone guessing about everyone else’s agendas, elevating an otherwise straightforward story.