It is ridiculously lurid trash from start to finish and anyone trying to argue otherwise is as crazy as its central character. However, while its aim may be low throughout, it at least comes close to consistently hitting its targets.

Ultimately, The Woman in the Window offers a lot of build-up, a lot of possibility. But the revelation of what’s truly going on here is anticlimactic—the equivalent of closing the curtains and turning away from the window with a disappointed sigh.

Blue Bayou is sunk, on occasion, by its own symbolism, and how it wields said symbols. It's not enough to use a symbol visually, and let the audience put two and two together. A character needs to have a long monologue where they explain the symbol and pontificate on how the symbol is relevant to the circumstances.

Yes, some of it looks cheaply made and a few too many of the jokes will thud for parents and children, but it’s such a big-hearted film in every scene.

McCarthy is aggressive and foul-mouthed while Sarandon is sensible and laid-back. And they’re clearly destined for trouble, which leads to solid if scattered laughs.

There are a lot of promising ideas here, but none are developed so much that this remake feels essential.

Despite making the case that celebrities are complex human beings just like the rest of us, this documentary lacks a human touch.

It’s the kind of movie where text will appear on the screen as a character reads an article explaining what’s going on in the plot, the kind of solid programmer that takes its audience for a slick and satisfying ride without challenging them too much.

However heartfelt and keenly observed this pessimism is, it becomes monotonous.

Depression is such a personal, intangible, mystifying phenomenon. Signe Baumane tries to make sense of it in unexpected fashion — through colorful animation and dark humor — with Rocks in My Pockets.

Rounding doesn’t quite make its own case, in terms of the symbolism it throws into the mix, but as a portrayal of a man falling apart from overwhelming stress it works quite well.

Doin’ It is more of a fling than one for the books, but it’s a fun one, nonetheless.

Thunderbolts is an odd duck of a superhero flick, one that almost leans into the skid of the MCU, and, by doing so, might actually straighten it out. It can’t quite shake loose of the consistent problems in the MCU’s recent output (turn a light on!). Still, it challenges blockbuster fans in unexpected ways, presenting them with richer acting than we’ve seen in these films in some time and, perhaps most shockingly, a final act that’s emotionally grounded instead of just “CGI things go boom.”

Within these oversaturated times for comic book movies, Madame Web is blissfully breezy in its pacing, which helps make it a more enjoyable watch than some of the super-serious, end-of-the-world fare we often see.

Blackout is nothing new, or even essential, but it mostly works anyway thanks to Fessenden and his cast’s impressive collaboration.

It's the kind of movie where, if you saw it when you were 14, you'd see it ten or twenty more times, and be inspired to check out books from the library, maybe memorize some poetry.

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.

Heart alone does not a good film make.

Geraldine Viswanathan has been steadily working her way through the coming-of-age subgenre, on her way to becoming a star. In the open-hearted romantic comedy The Broken Hearts Gallery, the charismatic whirlwind of an actress is vivacious and lovable.

People Places Things treats its characters a lot messier than most romantic comedies, which makes it delightful at times. It also makes it disappointing when the film falls into the same traps that plague romantic comedies.

There are some decent ideas for a comedy in Blockers, and some very funny scenes from a cast with rock-solid comic timing, but the movie was either rewritten one too many times or one too few.

A great score, a talented ensemble, and expert cinematography—all are undeniable here. And yet there are narrative elements of Babylon that feel hollow from the very beginning and only get more so as Chazelle tries to inject some manipulative lessons into the final scenes.

Strains to be a psychological thriller but its length (102 minutes) dissipates the tension that should be taut and compressed.

The film’s good intentions are evident, but its assemblage of experts and statistics is more lecture than movie. There is too much focus on families of comfortable or better means and too little focus on the impact that these conflicts have on the other members of the family.

Plenty watchable and inspired from a visual standpoint, The Nowhere Inn is a less refined and less provocative relative of Joanna Hogg’s The Souvenir, Brady Corbet's Vox Lux, or Robert Greene’s Kate Plays Christine.

It’s a story that speaks for itself, and so the emphasis on talking heads explaining it to us is dispiriting.

Working with a bigger production company on a film that feels more like anyone could have made it than their previous works drains “Hell Hole” lacks some of the DIY charm of the other flicks by Adams and Poser. Comparatively, it’s kind of a disappointment, despite having some undeniable positives that should make it an easy watch for horror heads.

Christine, centered on a riveting and at times unbearably emotional performance by Rebecca Hall, attempts to give a three-dimensional and respectful-yet-honest portrait of a complex woman. Sometimes the film is successful in this, sometimes it's not.