A slight, but very satisfying, and at times, surprisingly moving, documentary.

My Zoe dares to lead with its feelings, and that fearlessness provides a striking spectacle itself.

McDonagh’s film is well-crafted throughout but ultimately has nothing fresh or insightful to say about the ugliness of white privilege.

The biggest problem with “Nobody 2” is that the surprise factor is gone, and nothing has taken its place. The wow of seeing a generally comedic actor like Bob Odenkirk go John Wick in the fun 2021 sleeper hit isn’t there anymore.

It's possible to filter out the irritating aspects and enjoy the movie as a raucous, often brilliantly assembled spectacle. But we shouldn't have to. The fact that we do makes an otherwise hugely impressive sequel feel small-minded.

The movie is inescapably lifelessness, unintentionally dumbing itself down while desperately hoping to be profound.

A tepid situation comedy in indie drama drag, "The Black Sea" lacks a sense of urgency beyond a few moments of canned tension between Khalid and Georgi (Stoyo Mirkov), a haughty Bulgarian fisherman.

Kim’s Video reaches so hard for quirky profundity that it falls on its face. It’s a real shame because there’s an interesting story buried in this frustrating film.

The performers continue to exhibit those qualities forty years after the fact, reuniting in the evocative, sometimes puzzling, and sometimes moving Valley of Love.

Director Ruth Paxton puts you on edge from the beginning in “A Banquet,” and holds that unsettling mood throughout. But because the sound design is so vivid and Paxton’s eye for disturbing detail is so creative, it’s even more frustrating that the payoff is so unsatisfying.

Suki Waterhouse does her best with what she’s given. But still. The movie’s commonplaces don’t serve its singular subject—love him or hate him—all that well.

The trouble here is a lack of texture and urgency.

I did find myself wishing that all films this narratively misguided were so directorially sure-footed. Makes getting through them a lot less painful.

I Love My Dad is the kind of story that doesn’t overthink what makes it so laugh-out-loud funny, but there’s a whole lot of ugly, extremely human things going on each time its comedy makes you cover your eyes.

The result is both a madcap success on its own bizarre terms and an informative distillation of each auteur's sensibility.

It’s the simplicity of the story combined with the excellence of the filmmaking—again, often deceptively simple—that makes it work.

If a well-intentioned, occasionally funny, often moving yet nonetheless flawed "womance."

It's been some years since Jolie did an action movie, and she carries the center of Those Who Wish Me Dead. Unfortunately, it's a film with no real center.

An outrageously dull documentary.

Surprisingly, Bad Boys For Life is nowhere near as bad as its opening day schedule would indicate. It is the best of the three films, offering in some odd ways a corrective to the prior installments. Unlike the original, this one finds some depth in its female characters.

This is the rare film written, directed and edited by women.

Ballerina is a halfway decent action movie that will suffer because it lives in the massive shadow of John Wick, one of the best modern franchises.

Co-written by Ferrara and Christ Zois, who also wrote the Ferrara films Welcome to New York, The Blackout and New Rose Hotel, this picture can be described best as minimalist pretentiousness, a lot of angst and suffering with no particular place to go.

As social commentary, Joker is pernicious garbage. But besides the wacky pleasures of Phoenix’s performance, it also displays some major movie studio core competencies, in a not dissimilar way to what “A Star Is Born” presented last year.

After the forced bursts of energy, nightmarish dream sequences, and a strained bit of self-absolution recede, you soon realize that writer/director Niclas Larsson’s “Mother, Couch,” a morose, nonsensical family drama is about as interesting as the lint between the cushions.

Lurie is especially good at the narrative and character elements of the practice and game scenes, using them to move the story forward and build to the kind of resolution we look for in underdog sports stories with compelling emotional stakes.

In terms of underwater worlds, once you’ve been to Pandora, you can never go anywhere else. But the fictional Caribbean island where The Little Mermaid takes place is certainly a pleasant escape.

It isn’t necessarily bad, per se, and it contains just enough in the way of intriguing elements to more or less hold one’s interest for its running time. However, Next Exit never shifts into a higher dramatic gear at any point, and it concludes on a note that is more than a bit unsatisfying.