A movie that delights with spectacle as much as it repels with revisionism. Part of you will enjoy it. Another part of you will hate the part of you that enjoys it.

Mäkelä can capture something real about queer nightlife, shooting evocative moments at a drag king show, but that ability only makes you wish he’d abandon his main character—or at least let him mature a bit before subjecting us to him.

If you want to make a slasher-level action-mayhem movie, make the damn movie; don’t pretend your excuses for ultraviolence come from a humanist core. Mayhem! yearns to be taken seriously in all the wrong places.

In truth, the entirety of Halloween Ends is suffused in some kind of magic or witchcraft, a gauzy layer of unreality that prevents a single character in the film from behaving like an actual human being.

For a cool $200 million and this cast, I would have gladly taken less marketing mystery on the front end and more rigor in the actual story.

Despite an incredibly talented cast of top-tier comedy talent, the film fails to establish a cohesive comedic tone, becoming only more unmoored when it reaches for unearned emotional profundity later on.

In the end, A Complete Unknown neither meaningfully conveys Dylan’s mythology nor exposes him as human. There’s more fulfillment to be gained from listening to “The Very Best of Bob Dylan.”

As Greed’s concentration vacillates, it dilutes both Coogan’s portrait of McCreadie and the impact of its own contempt.

Reynolds, as ever, seems both happy to be there and faintly self-mocking about his never-ending quest for validation. A better movie could tease out of that tension, or allow its star to unravel a little, rather than just get knocked around. Free Guy is too busy mashing buttons.

Antlers is a film that, not unlike most of its ilk, wants to be an overstuffed analogy for hot-button issues first, and a horror film second. Unfortunately, it can’t seem to get either right.

Kasdan isn’t known for pulling off big budget action properties. He does his best here to create a kinetic pace, but the execution is always flat and dull.

As is, Don’t Look Up is an exhausting and meandering “What if? But also, what now?” If the world really is going to end in my lifetime, these were 145 minutes that I’m never getting back.

Despite the intriguing subject matter, this documentary can’t stay in the air.

Like an unstable particle of antimatter–which beyond all reason becomes a major plot point, if you can believe that–Time Cut begins to rapidly deteriorate in legibility in its third act, before spinning totally out of control.

Victim/Suspect manages to be at once fascinating, improperly focused and somewhat redundant.

A remarkable real-life, low-artifice spy thriller becomes unremarkable fiction.

It turns out, after the third attempt to recapture the magic of the first film, that the Men in Black universe is not a particularly compelling one after all. Probably time to move onto something else. They’re all tapped out here.

The movie is a shameless, relentless wreck.

Despite its important subject and impressive access, the surprisingly surface-level film doesn’t have much to say.

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.

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

The movie gets so wrapped up in sorting through the whimsical bureaucracy of discarded IFs that it forgets to create an actual world to hide it under.

Director Jaume Collet-Serra and his fully crewed vessel of writers never sink all the way to the bottom, but the very best they accomplish is keeping their heads above water.

Arcadian isn’t a time-waster, but its execution is too rote and unimaginative to warrant its existence as another addition to our post-apocalypse glut.

Things like a film’s cast, script or direction can keep us interested and giving a damn—but all of those elements fell flat in this installment.

The movie is cluttered, disorganized, choppy, obvious and, at the end of the day, not even energetic enough to work up much frustration about.

Everything’s Going to Be Great just has characters and ideas waiting in the wings to rush in nonsensically.

The first third of Alien: Covenant is suitably gripping. The final third is wreathed in tension reminiscent of the film’s 1979 progenitor, Alien. The second third sandwiched in between these bookends is equally interminable and dumb, a garbage-level studio-prompted exercise in origin narrative, built to demystify intellectual property where mystification is a key factor in its success.