Apart from some stray moments of youthful exuberance, the film version of 13 has been scrubbed as clean as any high school musical, so that it resembles any number of sitcomy streaming programming—erasing the very novelty that made it sing on stage.

The Strange Ones is a solid movie on first watch that becomes a seriously good movie on second watch. Maybe that’s a poor framework for an endorsement, but the film is more than the shock of its climax.

Havoc doesn’t lack for recognizable faces for the American market, not with Tom Hardy, Timothy Olyphant and Forest Whitaker front and center. But it’s also not really interested in giving those performers real roles to chew on. Rather, Havoc is primarily a canvas for Evans to paint in bullet holes and viscera, delivering wave after wave of hilariously over-the-top, comic overkill, at least in its back half.

At the end of the day, Sweethearts just feels wan and inconsequential as a result of its lack of focus.

Jenkins brings a little more color and variety to the proceedings, and even a smidgen of royal-family bitchiness in the early dynamics of Mufasa’s adopted family – though the lion who would be Scar, through no fault of Harrison’s, doesn’t exactly give us access to the fullness of his emotional journey.

While a lot of this stuff is undeniably enjoyable, it also resembles a frenzied fever dream.

The Commuter isn’t a tough puzzle to solve, and it veers closely to being obvious at times. But easy, unsubtle, unabashedly masculine action films don’t need nuance as long as they’re this much of a goofy pleasure to watch.

Antebi sets his own tone and masters it. The movie has the rush and the desperation of a fresh start.

If knowing Stigwood’s name unlocks a particular chapter of film and music history, then the documentary is a fun and often funny reminder that they’ve frequently been one and the same.

Who we really are versus who we hope we are is a source of phenomenal dramatic tension in any genre. Throw in some horror concepts and some scary atmosphere and you’ve got what’s (hopefully) a compelling concoction about the fear of facing your true self, and the fear of learning those closest to you aren’t who you thought they were.

The obsession of Alpha’s mother with her daughter’s health is never played for shock, but presented with conflict both internal and external, a trial encountered as a result of genuine love.

Tag is a bit of a mess, the well-paced runtime not allowing gag-based physical comedy and dramedy to exist equally on the same plain, just barely fun enough to keep an otherwise one-joke premise elevated.

Unfortunately, despite all this talent, Bubble never amounts to something wholly unique—falling into predictable tropes and a narrative that ends up being a little too self-serious for a parkour adventure with bubbles.

Anyone nostalgic for their grandmother’s cooking will no doubt feel its inexorable pull toward the kitchen.

To its credit, After Blue is very easy on the eyes, reminiscent of the kitschy, saturated pulp mags Mandico is clearly borrowing from. But its illusory schtick is better suited for a short film, rather than being taffy-pulled into a feature with so many sugary gaps in logic and feeling. You’re better off taking an edible and pressing play on Hounds of Love.

The Glass Castle is a two-hour fight between a messy, sad, angry real-life family story and a Hollywood movie that keeps trying to soften all the edges and turn the tale into something “inspirational.”

Life, death, science, mysticism, love and hate blend together to reveal depths of an internationally renowned genius. Deeply personal, sometimes tipping into the experimental, Radioactive is like no biographical feature I’ve ever seen.

McKee’s darker genre touches in titles like The Woman and All Cheerleaders Die are sorely missed in Old Man, which is too reliant on performances that outshine a story seen coming like an asteroid the size of Mars.

Half high-concept enlightenment satire, half exhausting family dramedy, Bad Behaviour is as tedious as its leads’ search for inner peace.

Those who’ve had Knights of Badassdom on their radar all this time are likely to get some mild amusement and satisfaction out of seeing the LARPing community depicted as something other than viral video fodder. Everyone else will find it a frustrating exercise of missed opportunities, as rough around the edges as the fake Frank Frazetta painting on your cousin’s van.

Perhaps the film works better as a run-of-the-mill horror comedy about a woman who regrets sacrificing her career to start a family, but as a so-called revolutionary take on motherhood, Nightbitch is stagnant and spends too much time chasing its own tail to an unsatisfying conclusion.

Deadpool & Wolverine is another mind-numbingly corporatized CGI fest, divorced from any true emotional stakes. It’s a picture that would rather tell you how to feel than make you feel.

The good news is if you liked Hocus Pocus, you will definitely like Hocus Pocus 2...because it’s basically the exact same movie except with cell phones, better special effects and a cameo from Hannah Waddingham. Imitation remains the sincerest form of flattery. The bad news is…it’s the exact same movie.

A visceral expression of fear and longing, 1BR could be a new cult classic. With incredible performances, a solid twist and the possibility of a franchise sequel, 1BR aims high. The good news is the film hits most of its targets.

The most emotionally captivating moments focus the film’s themes about the relationships people form with their pets, and the senses of duty we feel to the ones we love, all of which gives DC League of Super-Pets a big heart.

With Drive-Away Dolls, Tricia Cooke and Ethan Coen channel their influences and experiences into a tight, satisfying, humorous road movie. A knowing and humorous tone never loses its flair, with an artistic touch and commitment that makes you buy into the jokes in the first place. It is a refreshing comical experience threading together the absurd and the authentic.

Mosquito State is a profoundly annoying film. Believe it or not, this is meant as the highest compliment.

Satanic Hispanics, a horror anthology from a quintet of Latino filmmakers and an energetic ensemble cast of actors, embraces the versatility and sense of diversity that can work so well in this format.