On reflection, “Sight” is a beat-by-beat wholesome biopic built to leave its audience feeling good and inspired by its sermon.

Through Dupuis’s eye, this story is empathetic and involved, and this feeling persists despite disorganization’s attempt to shake its structure.

It’s a deceptively well-made flick that appears to be Linklater in little more than his “let’s have fun” mode. But it can’t keep one of the smartest filmmakers of his generation from elevating everything that this movie is trying to do with remarkable depth.

The storyline is complicated but not particularly engaging. There are elements that are too arcane or unsettling for children and not of any special comedic value for adults.

As much as Costner tries to play an even hand, attempting to give the Indigenous and settler perspective equal attention, it doesn’t wholly work.

This is a smart and loving movie about female friendship.

Taylor-Johnson’s film, penned by Matt Greenhalgh, is concerned with Amy the addict, making “Back to Black” a dreadful, dastardly attempt at a biopic.

Once we're able to see Harlin's new trilogy as a whole, “Chapter 1” might feel more essential to the 4.5-hour experience. Right now, it just feels overly familiar.

There is absolutely zero tension in “You Can’t Run Forever.” It all feels like a lark, a project that would completely dissolve if not for the Oscar winner at its center.

Hong’s new film, “In Our Day,” is not atypical—it’s a plain-looking, often wry, and lightly nourishing character study with a diptych structure that adds enigmatic intrigue to the proceedings.

Make no mistake: the planes are the stars of this production, and as hard as the filmmakers try to reassure us that there are human stories going on as well, the precision flying and all the training and practice that allow it to exist are what everyone paid to see, and the movie never forgets it.

An unconvincing sequel to the 1994 original that’s basically the Scandinavian answer to recent trauma-minded American horror legacy-quels like “Halloween Ends” and “Scream VI.”

This is a fascinating story. Counterproductive style choices get in the way of the telling, though.

Miller isn’t here for tawdry melodrama, algorithmic plotting, or art designed for the small screen. “Furiosa” aims to blow you away. And it does. To Valhalla and beyond.

IF is a well-intentioned misfire—a kid's movie without laughs and a parent's movie without purpose.

The themes of the film are so resonant that they create an immediate connection with the audience, but producer/star Judd and writer/director Alec Tibaldi address them with sincerity but not much depth. The film is more about mood than insight.

The film is well-made and well-acted, but it merely suggests depth rather than actually having it.

Writer-director Frank Berry’s film never devolves into melodrama – if anything, it may be understated to a fault – but he grounds her plight in an authentic mixture of daily frustrations and sporadic joys.

Gasoline Rainbow feels like a living, breathing, laughing organism. It’s not a caricature of Gen-Z nor a wishful document of what we may hope or theorize 2020s youth to be, and the Ross brothers’ largely hands-off technique allows this to thrive.

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.

The goal of Power is to call police brutality into question, not put it on trial. It feels like a primer, a crash course for those who didn’t know and more food for thought for those who do know of its dangers and its harrowing legacy in this country.

Like a magpie, it takes bits and pieces from better films and cobbles it together with some paper-thin characters into something that is a movie in definition only.

Last Stop in Yuma County is the kind of movie where you root for the worst to happen, because every escalation of misfortune makes things more entertaining.

To be clear, “Kingdom” doesn’t have the answers. But you can bet your bottom dollar that this rare, deeply cinematic Hollywood franchise won’t stop digging until we get a little closer to knowing.

Ethan Hawke attempts to breathe new life into the biopic structure with mixed results in “Wildcat.” What is certain is that he’s drawn a rich and multilayered performance from his daughter, Maya Hawke, in the starring role.

A handsomely produced, nearly empty experience, "Unfrosted: The Pop-Tarts Story" is hard to describe because it's tough to tell what the filmmakers were going for, much less argue about whether they achieved it.

Instead of piling on contrivances and cheap psychology to move the story along, Kavtaradze keeps "Slow" situated in a refreshingly human level, respecting the intelligence of her characters and the audience.

Jeanne du Barry cares more about the love affair between two non-distinct people wearing exquisite clothes in stunning rooms than the reality that would sweep away those rooms, those clothes, and those people in just a few years' time.