Heart alone does not a good film make.

This is not your typical “bank robbery gone wrong” kind of movie, nor does it follow the familiar beats of a Bonnie and Clyde-style “lovers on the lam” story. “Marmalade” is a strange mix of its own, launching the rom com criminal premise to thrilling heights.

Lathan’s film is only a pale imitation of what came before it. But while “On the Come Up” is a major miss, here’s hoping that Lathan returns with a bigger and better directorial effort next time out.

Ultimately, “Azrael” lacks the energy or chills to terrify viewers.

If you didn’t know Beckett was a thriller, you’d think it was about two mismatched people with dry interests, mundane conversations, and zero attraction.

Director and co-writer Sarah Adina Smith offers some inspired moments and laughs here and there, but too often, running bits simply don’t pay off.

There are movies about ugly, vile people, and there are ugly, vile movies. Triple 9 is the latter.

And the matter-of-fact portrayal of a bi-racial relationship is presented just as it should be — unremarked upon.

Perhaps die-hard fashionistas would find this reasonably diverting, but to everyone else, it is guaranteed to grow tiresome very quickly.

In the end, Jung_E feels like a movie made by an undeniably talented director who just didn’t have quite enough ideas here even to fill a 99-minute runtime.

The ratio of humor and action and parent-child bonding is so formulaic, and the character design and molded-figurine-like animation so typical of the genre in the age of Pixar (and Pixar imitators), that Epic evaporates from the mind within minutes of leaving the theater.

The Last Thing Mary Saw is so effective as a vehicle for performances, atmosphere, and period detail, and so convincing an examination of suffering under the boot-heel of a cult, that one may wish that it added up to more.

Chism's cast is game for her shenanigans, and the biggest pleasure of "Peeples" is watching them cut loose under her direction. This movie has one hell of a cast.

It’s an inspiring tale based on true events with a worthwhile message about finding your voice and asserting your identity. If only it were good.

Actors of the caliber of Brolin and Winslet can do nothing but the best with what they're given, struggling to find nuance and humanity in romance-novel archetypes.

You’d have to be totally cynical, with a heart of stone and ice water in your veins, not to be even the slightest bit charmed by One Chance.

Consistently boring in a manner that almost feels defiant, “Slingshot” plays as a shallow COVID lockdown allegory for most of its runtime, before insultingly spiraling off the rails. It feels like a movie that hates its characters. And hates you too.

I didn’t laugh once, but there were several lines that, in context, got a wide fool-grin out of me.

The main thing wrong with Robocop is that it's dumb, and it's trashy, and it's both of those things in a not-good way.

Ultimately hollow as director Bertrand Bonello keeps his subject somewhat emotionally at bay, the movie is also at times quite addictive — much like Opium, the controversial name of Saint Laurent’s famous scent. As a diversion, it isn’t exactly good for you but it does provide entertainment.

There’s a version of Jerry & Marge Go Large that’s more like an early Tom McCarthy film, a movie that takes itself seriously as a character study instead of resorting to the simplicity of a generic comedy.

Tim Fehlbaum’s The Colony has many ideas about the future, and while not all of them quite stick together, there’s a few interesting aesthetic and narrative choices to make it something of a curiosity. There’s enough going on to capture your notice for brief stints before trailing off into dense plot details or well-worn sci-fi tropes.

But because the movie is at heart as fake-sentimental as any other such motion picture, or greeting card, or what have you, there's a lot of backpedaling after, say, a random attempt to milk laughs out of human trafficking.

It's not about the hard work that's intrinsic with all of wrestling, so much as the WWE's open willingness to sacrifice its core values for lazy family-friendly amusement.

For the most part, “William Tell” is stuck in multiple in-between phases, and filmmaking modes. It’s far too violent and disturbing for little kids, but feels a bit too popcorny to pass muster as a serious epic drama.

Pure evil meets unshakable faith in Katrin Gebbe's torturous Nothing Bad Can Happen, a film that begins as a meditation on human behavior and belief but crosses the line into pure sadism.

Here’s the thing: The Intern, while having its share of silly moments, is the most genuinely enjoyable and likable movie that Meyers — a longtime writer and producer before taking up directing — has put her name to since, oh, I don’t know, 1984’s “Irreconcilable Differences.”

Ford's voice — always deep, lowered an octave by age and one more by William's longing — is even more powerful. This is Ford's best performance since "The Fugitive," maybe since "Witness."