Whatever your reaction is to the latest meticulously made mind warp from writer/director Alex Garland, it won’t be indifference. This is a visceral experience, and it reinforces Garland’s singular prowess as a craftsman of indelible visuals and gripping mood.

While it’s a lot of fun, it isn’t as consistently clever or thrilling as its predecessor.

This is a remarkably assured movie, through and through. Walsh and cinematographer Guy Godfree have taken care to make every individual shot a thing of beauty. But the artfulness always acts in service of the emotions, which in the end become both inspiring and heartbreaking.

It’s an efficient, clever genre mash-up that works because of how well Byrne blocks its action, employs an old-fashioned score, and directs his actors to visceral performances.

Whether or not Blanco is able to save his factory, Bardem is able to navigate the narrative missteps surrounding him and ultimately make "The Good Boss" worth a look.

In “Stopmotion,” the debut feature from Robert Morgan, the medium—the painstaking and time-consuming process of stop-motion animation—may be unusual but the resulting film, an undeniably grisly but ultimately tedious tiptoe through the genre tropes, certainly is. This is all the more frustrating because in the middle of it all is a performance by Aisling Fransciosi that is so strong and committed that viewers will wish that the rest of the film had made the same kind of effort that she clearly did.

Peak Season feels like a bunch of friends making a film; at times, this intimacy and dialed-back scale is charming. At others, it pokes holes in the facade of the fourth wall, and immersion is lost.

As revisionist as it might aspire to be, Never Grow Old is rife with clichés, Cusack’s philosophical villain one of the most conspicuous.

The filmmakers really do manage to visualize a distinctly Ballardian nightmare-scape. This in itself makes High-Rise worth experiencing.

For as incomplete as “The Bad and the Beautiful” feels in terms of addressing criticisms leveled at Newton, the inclusion of so many women’s perspectives is its own defensive statement.

Good Night Oppy may be especially resonant for younger viewers who are interested in science but might not yet realize that there's more to it than crunching numbers and drawing charts.

Those willing to give No Future a chance will find it to be a fairly smart and realistic depiction of two people consumed by grief, guilt, and loss and the misguided ways by which they attempt to come to terms with those feelings.

Lana Wilson's doc is engineered to appease her fans and promote Swift's self-awareness, and yet it leaves one feeling that there is still so much more to be discussed about what makes Taylor Swift who she is.

That commitment to terrible humor is one of the few unquestionable things about Entertainment, which is openly designed to provoke unease and uncertainty.

Despite some miscalculations that weigh this installment of fearless tornado chasers down, “Twisters” is an enthralling summer blockbuster on the whole, thanks in large part to Powell’s presence, which is fun, disarming, and even cheekily silly.

It’s “Avatar” meets “Fantastic Voyage,” and it also looks really good on a big screen thanks to Disney’s many, many talented animators. With their help, “Strange World” breezes through a checklist of formulaic plot points and canned emotional revelations with enough style and sensitivity to make it work.

While "Oh, Canada" has moments of mordant humor, its ultimate mode is the elegiac.

A dark comedy that’s equal parts amusing and disturbing. Stearns is ambitious in the tricky tonal balance he aims to strike here – shocking us in detached, deadpan fashion – and his story wobbles a bit by the end, but the points he’s making couldn’t be clearer or timelier.

This reasonably engaging picture is being pushed as a kind of diversity-prioritizing indie comedy as opposed to the YA film it really is, for reasons not entirely clear to me.

You don’t have to be a Green Day fan to find this movie interesting, but you’ll definitely be more inherently invested in it if you are.

Kendrick’s performance is one of the strongest aspects of “Alice, Darling.” Under Nighy’s direction, they create an emotional portrait of someone on the verge of being lost to a warped distortion of love but who realizes they were surrounded by the real thing the entire time.

It can be so refreshing to see an efficient thrill ride of a movie, a flick that knows what it wants to do and doesn’t waste time doing it. Christopher Landon’s Drop is one of those films, a thriller that unfolds in two locations with few characters, all in pursuit of providing as much entertainment as possible to ticket buyers.

I like these actors. I just wish they were in a better movie.

The homages and borrowings—not just from Scorsese’s oeuvre but other widely-seen films, including a brazen lift from “Boogie Nights”—constrict the movie and prevent it from breathing on its own.

Kempff immerses her audience into her character’s tortured headspace, like a tragic hall of mirrors that seems endless.

As its subtly confident title suggests, it carries itself as if nobody had ever made a Transformers movie before. It’s so earnest, bringing notes of freshness and innocence to a prequel that, by all rights, shouldn’t have had any.

Stylistically, the film is nostalgic, reminiscent of vintage photographs and the era of striped baby tees, flared jeans, and The Ramones. Warm browns and oranges, film grain, and filtered light flood the screen. But this idyllic '70s suburbia is corrupted by Derrickson’s horror.

It’s a dizzying, life-affirming anthem about how it’s never too late to find your way home in the arms of your lover, even if you may have lost your way.