Ultimately, To Catch a Killer blames all of the gruesome violence it depicts on the perpetrator’s mental health and offers only a surface-level exploration of the system that failed him.

Ultimately, Quasi is a decent effort from talented dudes but a missed opportunity at something memorably hilarious. It's a few decent jokes in search of a better movie that needed a bit more improvisational effort in the comedy department and a lot more shaping in the editing room.

Judy Blume Forever is a charming introduction to the author, her life story, and the inspirations behind a number of her books. Fan or not, this lovingly crafted tribute to the author feels as friendly and welcoming as Blume does greeting customers at her bookstore in Key West.

This film is so smug and self-satisfied that you can practically feel the contempt everyone involved with its production has for its audience.

Craig’s spin on Blume’s classic is just as exhilarating as her debut film “The Edge of Seventeen.” Her deep respect for the foibles of girldom and her emotionally intelligent exploration of prickly family dynamics make her a perfect match for the material, and elevates Are You There God? It’s Me, Margaret far above most modern films that attempt to tackle similar material.

Unfortunately, The Pope’s Exorcist is a watchable but far-from-special rehash of exorcism movie cliches, with detours into a Vatican conspiracy plot that has been compared to Dan Brown's novels but half-assedly connects with church atrocities and scandals.

The material meant to beef up this story is so bland and underdeveloped it makes Renfield feel like a sketch concept stretched thin to feature length.

One Night Only becomes the story of a man surrounded by music his whole life who knew how to filter those influences through a distinct voice. The film sometimes runs too long, but its subject has earned that length. He sounds phenomenal, and he’s filled with, well, personality.

Based on the autobiographical book Everything Went Well by the late Emmanuèle Bernheim (a frequent Ozon collaborator), Everything Went Fine is an emotional and complex portrait of a family in crisis, the father's stroke exposing underlying cracks, old pains, new anxieties.

These caretakers are all too human. The movie somehow turns that into a reason to admire them all the more.

None of these people feel real. They’re the Montgomery Ward catalog of racists common to so many Civil Rights movies, they’ve become noxious cliches, particularly in this drab script, which feels like an AI chatbot wrote it.

Mafia Mamma lives in the uncanny valley between incompetent and unwatchable.

While it has a personal touch of a love letter, this documentary is nonetheless the work of compassionate filmmakers who know any adventure when they see one.

Yen doesn’t exactly swing for the fences here, but Sakra still lands exactly where its multi-hyphenate star needs it to.

Lasse Hallström’s greatest strength as a director is deep humanity, with compassion for even the most flawed characters. The affection from all three family members for af Klint and for creating art shines through the film.

There are key elements of Suzume that directly speak to the history of Japan and the fears of its people, but Shinkai’s gift is his ability to make the issues of trauma and anxiety feel like everyone’s. “Suzume” isn’t quite the masterpiece that is “Your Name” but I wouldn’t blame anyone for falling in love with it.

Sick of Myself works as well as it does due to Kujath Thorp’s charismatic performance.

Beau Is Afraid, an enveloping fantasy laced with mommy issues, is about being doomed from birth. It's Aster’s funniest movie yet.

How to Blow Up a Pipeline is one of the most original American thrillers in years, and one that draws from a deep well of movie history as it develops its characters and sets up its plot twists.

Ross always preached that there were no mistakes, just happy accidents. A mess like Paint—all broad strokes and no point—proves that he wasn’t always right.

There's something a little too neat about the structure of Showing Up, and the pigeon wears its symbolism on its broken wings. But the piercing specificity of Reichardt's vision, and her insights into the dynamics of an art scene like the one in Portland, are spot on.

While it keeps a sharp, neo-realist-influenced eye on the everyday lives of its characters, Joyland often gets so intimate as to discomfit the viewer to the point of exasperation. But the movie itself never judges.

One True Loves is so frustratingly superficial that it fails to gain a modicum of sincerity.

Chupa willfully becomes one of those family films that takes plenty from the toy box of cliches left before and hardly gives anything back.

It doesn’t all make sense or add up to much, but there’s a consistency to its inconsistency that I admire. It’s something that works on a mood more than literally. Kind of like a great country song.

The best preachers always know how to tell a story and tie it back to a Biblical lesson, but director Sean McNamara has less than a youth pastor’s grasp on his main character’s crisis of faith.

The latest animated blockbuster from Illumination is their most soulless to date, a film that feels like ChatGPT produced it after data and imagery from the games were fed into a computer.

If you love movies about process, about people who are good at their jobs, then you’ll find yourself enthralled by the film’s many moments inside offices, conference rooms, and production labs.