While there's undeniable creativity in the film's visual and metaphorical aspects, there's a glaring neglect in the power needed for this film to find its own voice.

This "Goodnight Mommy" replicates the basic story beats of the original but leaves out all of the tension, ambiguity, and nasty invention that made that earlier effort so effective in the first place.

It's not a complicated narrative, possibly because the movie’s designed for younger viewers. But the conception of “Drifting Home” is so stunted that its only memorable thing is its untapped potential.

Blonde abuses and exploits Marilyn Monroe all over again, the way so many men did over the cultural icon’s tragic, too-short life.

With Clerks III, nostalgia is its own convenience for Smith. It’s cheap and fleeting, but it is comforting.

At 105 minutes, it’s a little overladen, as Selick and Peele over-complicate their storytelling with subplots and even commentary on the prison industrial complex. However, there’s no denying that this is a world that animation fans will just want to explore, to live in, to savor. It’s been too long since we got a window into Henry Selick’s brain and it’s still an amazing view.

I like these actors. I just wish they were in a better movie.

There is surely an audience for this kind of feel-good quote-un-quote feminism. But a book of such richness, with a heroine as complex as Birdy, deserves much more than this genial Renn Faire romp.

Sidney works more as an explainer for why Sidney Poitier remains such an important figure in American history—not just Hollywood history—than it does as a warts-and-all biography of Sidney the man.

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.

My Policeman is surface-level queer representation lacking in visual imagination and begging for better performances. It’s the kind of glacially paced movie that sticks around for two hours and tells its viewer nothing new; a series of moving images without any sense of emotion or wonder. “My Policeman” commits the gravest of crimes—it’s soulless.

When The Woman King works, it’s majestic.

Its perpetual commentary on the mainstreaming of queerness remains at odds with its very desire to tell its story within the Hollywood system.

To this viewer, it develops into a pretty nifty piece of genre work, a thriller that’s expertly made even if it doesn’t quite hum like the best Park films. The fact that a good, well-made thriller feels almost like a disappointment given this creator’s pedigree is just a testament to the work he’s produced before.

While the clues of impending horror emerge long before this episode of camaraderie—signaled by Sune Kølster’s unnerving orchestral score from the opening frames—nothing can fully prepare you for the appalling dark places “Speak No Evil” is headed to.

For those of you who miss films made by adults and for adults, films which treat things like sex and loneliness with respect and honesty, "True Things" isn't to be missed.

With his latest film, “House of Darkness,” LaBute tries something similar to "The Wicker Man." And while the results may not be nearly as outlandish this time around, they do make for an intriguing and occasionally quite witty battle of the sexes, in which not all of the bloodshed is strictly metaphorical.

Indeed, González has the keen eye of a documentarian that can perceive the very details that normally escape one’s gaze. His film demonstrates just how much we can glean by slowing down to savor the sights around us and those who inhabit them. To take the time to look at the world through the eyes of others rather than be limited by our own perspective.

Medieval is a bleak and visually oversaturated allegory about the 15th century revolutionary Czech soldier turned military leader Jan Žižka (Ben Foster). There's blood and chainmail, yes, but it's also a self-serious allegory about duty and faith during miserable times.

Moonage Daydream is a stunning achievement in editing, cutting across eras and settings not to the rhythm of the music as much the mood of it.

Writer/director Zach Cregger proves himself to be a bonafide jack-in-the-box horror filmmaker with "Barbarian," beginning with a nightmare that could happen to any of us—a double-booked Airbnb.

The result is a muddled mixture, offering some moments of exuberance and humor without ever being singular or exceptional.

It doesn’t deal in easy gags or low-hanging speeches. It understands both the thrill and the agony of desperately waiting for your dream to ripen on the vine.

It’s a powerful piece of work with poetic direction and incredible work from Krieps, an actress who increasingly feels like she’s never going to miss.

Despite its lyrical presentation, the film’s lingering ideas are straightforward and sentimental, arguably even self-serving. Our political divide can be bridged only by those who take the time to see each other, and who approach such patient acts of observation from a place of genuine compassion, concludes the filmmaker who set out to prove as much in the first place.

This story is bound to lead to several showdowns at once, and the action climax is beautifully orchestrated by Hill: it’s suspenseful, jarring, and never descends to formal cheating of narrative cheapness to give the audience what it wants and deserves.

We Are as Gods works best as a history lesson as seen through one man's journey: from Haight-Ashbury bacchanals to early computer labs to the Siberian steppe.

François Ozon's "Peter von Kant" is an odd, chilly film, even by this director's standards.