Cusack's distinctive handling of his sullen poet offers an opportunity for Adult World to make a statement about youthful ambition and middle-age disillusionment beyond Billings dubbing Amy and her peers as "Generation Mundane." But the film just stops short of truly achieving that goal.

The best thing about Stargirl is that Big Star's yearning ode to adolescence "Thirteen" is played in its entirety not once, but twice. If Stargirl introduces a new generation to the wonder that is Big Star, it will have done more than enough.

Directed by Ángel Manuel Soto (“Charm City Kings”), this heartwarming, crowd-pleasing comic book flick is less serious and more colorful than the tonally dour mood of many contemporary superhero films.

Moving from in front of the lens to behind it, the former ‘80s sitcom star clearly has something personal and piercing to say. Her film will surely resonate with so many others who hear their own nagging voices in their heads.

The Persian Version pulses with personality, striking an excellent balance between humor and heart.

If you can look past the sputtering conclusion — or the pseudo-intellectual banter about memory, modern art, and other assorted nonsense — what you'll find is a brisk, breezy, style-heavy crime flick that happens to be one of the most purely entertaining movies Boyle has made in a long time.

While it does have a few things of interest going for it, this low-budget effort ends up arriving at its necessarily predictable conclusion in too many unnecessarily predictable ways.

Ferrara’s filmmaking always has a blunt elemental force and conviction. It doesn’t quite transcend the commonplace aspect of what he’s trying to “say.” And yet transcending isn’t the point—doing is. This is not just guerrilla filmmaking, it’s a kind of action painting. A literal journey to the end of the night.

The movie’s imaginative energy is undeniable, and Bodhi himself is a winning screen presence. If Webber sticks to his creative guns, he could well become the John Cassavetes of attentive (albeit eccentric) parenting.

Although the milieu of “Coup!” speaks allegorically to the pandemic of our own century, it does so softly; the movie is ultimately more a tale of class warfare than public health.

It's so repetitive that it will make you want to pick up your phone while it’s playing on Apple TV. You should play Tetris.

All I Can Say feels much longer than it actually is. Hoon struggled with addiction. He was arrested many times. It's a cautionary tale but one we've heard so many times before. Fans of Hoon will thrill to all of this footage. For others, it'll be a pretty tough haul.

For all the nostalgia that comes with seeing David pop in a VHS tape, the movie’s time period allows Stevenson to focus our attention on the horror emitting from just one screen.

The entire thing has the tone of an elegy or memorial throughout, including the hero's voiceover, which has a resigned inevitability. It is also, to its credit, a movie that plays fair with the viewer, establishing very early that it's going to honor its subject matter by being complicated, because almost nobody's life can be interpreted just one way.

It’s a wildly inconsistent film, sometimes disappointingly clunky and as superficial as the world it’s mocking, but it’s also an ambitious piece of work with unforgettable imagery and an ace ensemble.

As a result of Lorius and his team discovering that they could accurately date every nuclear weapon test from radioactive material found in Antarctic ice, there was an international treaty banning such tests, with over 100 nations signing on to it.

One salutary feature of this sharply observed film is that it does not feel compelled to make Seyi in any way magical: he cannot transcend the sump of addiction and corruption in which he allows himself to sink.

When You Finish Saving the World floats uncertainly on the edge of satire. This is a big problem. Satire can't be uncertain. Satire needs a sharp bite. When You Finish Saving the World is toothless by comparison.

As far as Scream sequels go, we’ve seen worse, but the wear and tear of the years are showing on Ghostface’s mask. The script is serviceable but surface-level, bringing up interesting ideas but never following though on them.

In a summer of antiseptic effects spectacles, Elysium stands out for its grime and intensity, as well as the bluntness of its class allegory.

Here is a cornucopia of aesthetics, not for all but definitely for some, that will remind you that not every type of film has been made yet.

It is lively, fast paced, charming and funny, and it showcases an especially delightful comic performance from Belgian and French cinema stalwart Olivier Gourmet.

Mehari’s presentation proves far too straightforward. There is little motivating the dramatic urgency aside from covering each development, despite the social issues that make the story itself so immediate.

Thanks to Øvredal’s visual flair and visceral dedication to the monsters of Guillermo del Toro, clearly a major influence on the “Trollhunter” director’s bittersweet approach to the field, this satisfying though far from innovative dish boasts comforting flavors throughout.

It has such a strong aesthetic about it, it's almost as if The Wolverine functions as its own stand-alone film, rather than as a piece of the "X-Men" mythology.

Some will be turned off by the exploitative violence and some by the shallow storytelling, but what struck me most about “Day of the Soldado” was the predictability of it all.

An update of “The Talented Mr. Ripley” set in the mid-aughts, “Saltburn” is deliciously, wickedly mean—seductive and often surreal—with lush production values and lacerating performances.

This lavish period piece contains enough thrills, spills and moments of cinematic grace that not only manage to push it through the rough spots but allow it to put most American action films of recent vintage to shame.