The performances are better than the material deserves—particularly those of De la Reguera and Huerta, whose reactive closeups have a silent-movie expressiveness; and Lucas, who once again proves that he's willing to play deeply unlikable characters without signaling to the audience that he's a nice guy offscreen, actually.

The supposedly original script from writer Zach Dean offers very little that’s innovative or inspired.

In spite of its icy backdrop, the part home-invasion chiller, part murder-mystery Till Death could prove to be the actual summer movie you’ve been craving for a while: undemanding, a little silly, but a thoroughly engrossing and handsomely paced edge-of-your seat experience all the same.

What chafes is not so much the vulgarity (although it is as relentless as it is unfunny) but the movie’s intractable infatuation with it.

No one mentions it explicitly in the movie, but this film could be in the curriculum of a grad school course on Critical Race Theory, which is not, as some confused people claim, about diversity training in corporate offices or amending history books in grade school.

No Sudden Move is like watching a musician return to the themes and ideas explored throughout a career but with the renewed insight that comes after decades of success.

This is the kind of film that tells its story well while simultaneously showing the joy of the creative act, in Bravo's filmmaking, yes, but also in Zola's decision to take to Twitter and tell her story in the first place.

Producers Phil Lord and Christopher Miller bring that non-stop energy of their other projects like Spider-Man: Into the Spider-Verse and The Mitchells vs. the Machines even if the writing sometimes feels bizarrely dated.

If you enjoy watching barrel-penned fish get got with a BB gun, you're bound to love Vicious Fun. Vicious Fun courts that kind of glib dismissal since so much of the movie reassures viewers that its creators are also addicted to the formulaic slasher movies that they kind of, sort of mock.

It’s ultimately a film that works on its own terms, a long-delayed enriching of the story of a beloved character that will make her ultimate sacrifice in “Avengers: Endgame” feel even more powerful in hindsight. Every blockbuster this Summer is being touted as the sign that the world is back to normal—“Black Widow” is more a reminder of what fans loved before it shifted off its axis.

Here, [Ruben] lets loose with many of the goofy, creepy impulses that make him such a welcome voice in crowd-pleasing horror, creating a giddy spirit with his long roster of future household names.

Despite its many perils, both natural and human, The Ice Road is surprisingly dull.

Despite its over orchestration, director Vanessa Roth’s slight, hagiographic documentary Mary J. Blige’s My Life, manages to provide profound truths concerning its self-admitted insecure subject.

Gaia does not feel like homework. It's a thought-provoking and disturbing experience rather than a lecture.

Watching the scientists research the mysteries of humpback whales is an inspiring tribute to the power of curiosity, purpose, and the triumphant joy of adding one more piece to the jigsaw puzzle of knowledge.

I Carry You with Me is a complicated film, in many ways, and it covers a lot of ground, but the emotions portrayed are simple and human-sized.

Never as giddily awful as Gotti, this movie suffers more from a case of what film critic Andrew Sarris called “Strained Seriousness.” Except the ostensible seriousness here never runs particularly deep. Lansky is for Keitel completists only.

A deftly made suspense film, but one that falls somewhat short of its aspirations, both as a satire and as a psychological thriller with a critical societal eye.

Cuartas' film provides a generally interesting spin on both the vampire mythos and more typical dysfunctional family dynamics. And while I can't promise it will provide you with a good time at the movies, at least in the conventional sense, I can tell you it's one that's likely to stick with you for a while.

Like the DisneyNature films, it’s strikingly pretty, not just in its gorgeous views of the Austrian countryside, but also in the interiors populated by talking heads and delectable foodstuffs. It’s also startlingly tame, as if its subject, famous celebrity chef Wolfgang Puck, was a commodity whose brand needed to be protected.

But in spite of its form not being as compelling as its subjects, Rebel Hearts is still an inspired and inspirational recounting of a historical moment and the women at the center of it.

Although Sisters on Track has some gaps in its narrative that seem as if certain chunks of the girls’ lives were compressed or skipped over, it's most impactful when offering a thoughtful analysis of the rapidity with which children grow, adapt, and change.

Good on Paper sometimes gets silly, sometimes serious, but it never waivers from its mission of being funny through it all.

The action set-pieces are thrilling and intentionally hilarious, though the digital effects and compositing vary in quality.

Fatherhood is at its best and most watchable when it’s just Hart and Hurd onscreen. Matt and Maddy’s undeniable and reciprocated love for one another radiates from the actors, even in their broadest scenes of comedy.

Moreno, who is brash and self-effacing, thoughtful and charismatic, has such a commanding presence on camera; every time she speaks, you unintentionally lean in a little closer, hanging on to every word she has to say.

Filmmaker Nancy Buirski has an elegant, judicious way of imparting the facts of the case, taking not just the political temperature of the moment (boiling) but finely sketching the character and minds of the people involved.

Summer of 85 plays like a bad parody of movies like Love Story and Summer of ’42, stories where some undeserving male learns a valuable lesson from a love affair and death.