The luminescent cityscape of Paris is captured through an honest, loving gaze in Paris, 13th District, a melancholy yet tender-hearted exploration of millennial romance.

As Rowling continues submerging her magical world into the same hellish and disreputable bog as her personal legacy, I wish she’d kept The Secrets of Dumbledore to herself.

Aside from the one chilling scene grafted straight from The Ten Steps and its gorgeous, historic filming location, The Cellar just isn’t that deep.

While Wyrmwood: Apocalypse might be described as a brains-off zombie flick that’s best when at its most insane, it’s certainly not braindead. Engines rev as zombies breathe toxic-colored fumes, homemade outposts defend against hungry undead outside, and horror-action excitement ramps almost with a vivid, videogame cinematography that’s escapism through extreme, baddie-brutalizing violence.

Though an ensemble of Angelenos fills out the film as it barrels to pretty much the only conclusion it could have, Ambulance is about as tidy as a Michael Bay film can get.

While the film’s premise is appealing enough in its coming-of-age charm, the central characters themselves are intensely grating.

A feat of passive yet passionate cinema, Arnold’s latest fits perfectly among her existing filmography, portraying the depraved livelihood of those exploited for the financial gain of others.

Tony Hawk: Until the Wheels Fall Off is a reckoning of passion told by those who best understand the price of that love story: Hawk, his loved ones and his peers on the board.

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.

Sonic the Hedgehog 2 might momentarily lose itself to for-the-kids wackiness, which certainly leaves some plotlines frayed, but the reasons we’re here—Knuckles, Tails, Sonic, more Eggman—are all enthusiastically respected. I’m a happy Sonic fan after Fowler’s high-speed sequel.

Lemercier’s film is worth seeing at least once, regardless of your existing familiarity with (or even interest in) Dion. It never lampoons her, but rather taps into the heart of her appeal as a public figure…which, talent aside, just so happens to come back to her kookiness.

Unfortunately, even though Moonshot aims high, its misfire falls all the way back down to humble terra firma.

The Lost City might follow conventional genre beats, but an expert cast with a stellar sense of humor and fresh writing leads to lots of laughs and a romantic adventure that turns out to be a diamond in the rough.

While attempting to highlight the inconsequential nature of “rich people problems,” the film isn’t incisive or clever enough to parody the very cinematic sensation it’s unintentionally playing into.

I’m torn on Barbarians, because while the film displays sharpened technical filmmaking chops, it’s an unbalanced invasion thriller caught between its subgenre intentions.

Yet there’s some kind of invisible force here, hurrying things along in the hopes of a future team-up, making sure this feature film arrives more undead than alive.

Night’s End might be a cautionary tale about our preoccupation with revitalizing clichés, but it proves we have a rising horror star in Reeder. In my eyes, that’s a win for the genre, camp or not.

The performances themselves are the film’s biggest highlight, the songs having been given entirely new arrangements for the occasion.

Brimming with potential that it doesn’t exactly follow through on, You Are Not My Mother is nonetheless another aesthetically rich horror film that clearly mines an individual’s personal history.

While countered by a throughline which is a bit on-the-nose—that loss comes for us all, and that what matters is how we choose to live with it—Mothering Sunday still succeeds as a moving, beautifully crafted and sensual period picture.

It is a true artistic accomplishment that writer/director Mathieu Amalric was able to take Galea’s text, originally meant for the stage, and spin it into a vivid piece with such a uniquely lush cinematic language.

It’s a stylish meditation on childhood that isn’t afraid to indulge in all the sentimentality that goes along with that. Almost 30 years after Dazed and Confused, Linklater is still reminding us exactly why childhood is a uniquely special thing.

In her recent roles, like Lamb and the imminent You Will Not Be Alone, Rapace has expressed boundless terror and awe in the pursuit of existential questions about being human. In Black Crab, she reminds us with steely resolve that she’s incredibly capable at performing toughness, too.

With its crisply likable leads mixing it up with pleasingly chewy gangster stereotypes, it has the consistency of a good candy bar.

More akin to the similarly Affleck-starring Gone Girl than Fifty Shades of of Grey—or if we’re using Lyne’s filmography as a reference, more akin to Lolita than An Indecent Proposal—Deep Water is a sweat-inducing psychological scheme that is constantly aiming to intrigue and titillate.

It might not be a broadly relatable piece of cinema, but its commitment to one family’s healing across matriarchal lines is wholesome and inspiring—though overwhelmingly one-note.

On the whole, X proves that West is a master of craft. In The House of the Devil, he ingeniously drew out suspense through his slow, careful editing, and 13 years later he still hasn’t lost his touch.

When all is said and done, Bodies is everything it sets out to be. It’s a romp of a good time, stylized with big bold title cards and a soundtrack of club-hits like it’s The Bling Ring’s bloody cousin.