Even when Big Time Adolescence starts to become ordinary, it always has a freshness from its on-screen talent, and from the promise of Orley’s directorial eye.

It may not come together as smoothly as the best feel-good movies of its kind, but there's an unwieldy charm to Joyride that makes the trip memorable.

This is an interesting concept in theory and for a while, it is undeniably compelling to watch, aided in no small part by a couple of strong performances at its center.

Though it’s still not entirely successful, I’m glad this version exists. Coppola’s restoration has turned a hot mess into a noble failure.

Movies like Just Mercy spoon-feed everything to the viewer in easily digestible chunks that assume you know nothing, or worse, don’t know any better.

Somehow what comes close to dissolving into heartbreaking tragedy instead offers the merest whiff of hope for the future. As Neill’s seen-it-all Walter says when all hell begins to break loose, “Everyone’s got a story like this … it’s as old as the hills.” If only said tale were told with a bit more consistency.

Tackles the tricky topic of gender dysphoria with sensitivity and grace.

An American Pickle is charming and moving whenever it is content to be a two-man play. That's where the dramatic and thematic action happens. And it happens mainly through Rogen's dual performance.

If you look at a horror movie’s prime directive to be to scare the viewer, there’s no denying that, at times, The Quiet Ones got me.

I wish it was a little more ambitious and had some more meat on its bones regarding internet culture and shared spaces, but it’s undeniably entertaining, which is more than I can say about some of the times I’ve rented homes myself.

The kind of lush historical drama that Hollywood might have made in the 1930s but these days unsurprisingly owes its existence to foreign producers and, most especially, a renowned literary source.

A video game movie that encourages creation instead of just uplifting capitalism? That’s a small victory in 2025.

Spider-Man: Far From Home changes the scenery but can’t quite match the inspired heights of its predecessor.

If this material were compiled into a book, it would be rightfully deemed great literature. As featured in Heise’s film, however, these insightful words are frequently marred by a style oddly akin to a mournful podcast, one that requires listeners to repeatedly peer at their phone to read the subtitles.

Porno belongs in the “hot and murderous butt nekkid lady” sub-genre of horror alongside “Species,” “Lifeforce,” and the film it shares its villain with, “Def by Temptation.” Like that 1990 Troma movie, this horror-comedy details the exploits of a succubus, a female demon who tempts men to their own destruction via the deadly sin known as lust.

It's better than OK, and a few elements sing; but overall it frustrates. Its delights come from its willingness to depart from formula, but formula still rules it.

This is the generically structured and tamer “approved” version of a much richer story.

Pilgrimage is the kind of movie one fears is going out of style forever. A historical action drama, serious in tone and intent but also invested in delivering movie-movie thrills.

Prisoner of War may sometimes deliver what you hope for, but it’s an otherwise sloppy outing for Adkins, who by now should expect more from himself and his audience.

The movie has a clearly defined aesthetic and a consistent tone and a good heart, and there are moments where it wanders into the sublime.

Ultimately, Beneath is better than your average Roger Corman clone because it is more serious than trivial.

There is, in other words, nothing new in Hellions that you can't get already in earlier, more ambitious horror films. But McDonald delivers an effective thrice-told tale, and he does it with enough avant garde flair to show viewers that temper their expectations a good time.

Lady and the Tramp scratches an itch for dog lovers and may satisfy the young viewer’s curiosity when digging through the family’s new Disney+ subscription. However, so much of the movie is just fine when not feeling rushed or stilted, but doesn’t offer new surprises to stand on its own.

As movies about misanthropic outsider artists with medical issues go, “Don’t Worry” doesn’t come close to the superb “American Splendor” with Paul Giamatti as the irascible Harvey Pekar.

The result is a film that feels deeply personal, and not always in a good way. It’s a film that can’t help but feel a little like an invasion of privacy.

At first, Zauhar’s project for the film isn’t obvious, but once it clicks into place, the movie becomes a richer experience.

The good news is that I found the sequel better than the original — the writing sharper, the jokes fresher and smarter, the comic interaction between the lead characters consistently engaging.

Two Jacks is finally more of a curiosity than a viable dramatic event, but its bringing together of Danny and Jack Huston in a pair of tales related to their filmic legacy makes it a pungent if small addition to the legend of the Huston family.