The film, directed by Jason Kohn (“Manda Bala” and “Love Means Zero”), turns the slogan “a diamond is forever” on its head with its title. Which is not about the durability of a diamond itself, but about the diamond market, which is being roiled by the high volume, and high quality, of synthetic diamonds.

It’s more like a reusable ribbon bow. It's not great. It's nothing special. But you can keep it year after year and place it on presents as long as you have scotch tap—or Lohan’s irrepressible charm—to hold it together.

Ultimately, this film attempts to set up the future through Shuri. Wright is a talented actress with the ability to emotionally shoulder a movie when given good material. But she is constantly working against the script here.

Causeway ultimately may be a little too languid, too restrained, but there’s catharsis to be found in its quiet moments and fine-tuned performances.

Good Night Oppy may be especially resonant for younger viewers who are interested in science but might not yet realize that there's more to it than crunching numbers and drawing charts.

A pop music phantasmagoria that’s equally egoless and entertaining.

Something in the Dirt has the gritty DIY-vibe of the no-budget world from which it sprang, and is both thought-provoking and crazy-making, just like the mood it presents.

The film comes directly from its writer-director’s own lived experiences with racism, which gives it a rawness and an urgency that’s hard to ignore. And given America's cognitive dissonance about the looming threat of white supremacy in this country, an unsparing take on the issue like this one is very much needed. If you feel sick watching this movie, that means it’s working.

The documentary mixes scenes of rehearsals, interviews, and performances with dreamy, impressionistic moments, one loading a car, one in a beauty salon, with the women holding hand mirrors, that add a poetic, wistful quality to the story.

Utama sounds a warning even as it casts a spell, and the spell is one of life and death and eternal returns and never-ending struggles, and the rest we can try to take when the work is done for the day.

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.

Meet Me in the Bathroom is an impressionistic blur, more about what it felt like to be at the head of a scene than the actual scene’s character or identity.

Even with an embarrassingly rich cast, The Estate chokes on its own airlessness.

You Resemble Me is at its strongest when it tries to humanize its misunderstood central figure in simple, intimate ways.

Brandon Dermer's I'm Totally Fine is a funny and charming movie, with two entertaining performances from Jillian Bell and Natalie Morales at its center, but where it really works is in its understanding of grief, and how grief can turn someone's world—and mind—upside down.

With Nocebo, Finnegan and his collaborators have put their finger on something dark and disturbing. Too bad it’s never as upsetting as it is suggestive.

Enola Holmes (Millie Bobby Brown), the younger sister of Sherlock Holmes (Henry Cavill), returns in this cheeky, breezy sequel that's better than the original. The character has a better sense of who she is, and the movie spends less time on explaining, more time on action. The mystery at its center is inspired by a real-life event that is genuinely inspiring.

A drama this ambitious demands a fearless performer like Pugh, who knows exactly the tightrope to walk when it comes to the story’s delicate balance between realism and melodrama.

The action filmmaking, from interstitial chases to fight choreography, looks good, and so does the monster and its practically-effected victims.

Call Jane is about an important subject, but it's also a character study of one woman waking up, not just to her own strength, but to the fact that she's hidden in the suburbs for too long. It's time to help others. It's a very satisfying character arc.

Mitchell makes a very solid case that the Black cinema of the ‘70s was just as formative and influential as the white auteurs who so commonly define that revolutionary era.

As in another autobiographical memory movie about schoolboys, Louis Malle’s “Au Revoir Les Enfants,” Armageddon Time is the story of childhood innocence as remembered with regret and a sense of responsibility, with adult recognition of history’s vilest bigotries and injustices.

Holy Spider’s rendition of this grisly tale is powerful and precise, commendably lacking the sensationalistic tone of some serial killer movies.

It’s ultimately one of those pieces that waffles in tone a bit too much—trying to be a few too many movies at once will do that—and almost feels like it missed its window of ultra-relevancy thanks to a 2.5-year pandemic delay (and a few recuts). However, Feste’s overall ambition and craftsmanship, along with a fantastic central performance from Ella Balinska, hold things together even over the film’s rocky patches.

While it’s drenched in style and features performances from an eclectic cast of actors who are deeply committed to the bit, and its expressions of erotic desire can be quite steamy, director and co-writer Amanda Kramer’s film feels limited and grows tiresome rather quickly.

While the filmmakers certainly have their heart in the right place, aside from maybe a plea for more compassionate medical professionals, nothing about Peaceful is very original or even entertaining.

Post-Revolutionary Iran’s first masterpiece and one of the most exhilarating films in cinema history.

If Black & Blues returns to the same melody a few too many times, it doesn't diminish the overall achievement, which feels free in a way that these sorts of films rarely do.