What makes The Vigil so frustrating is that it feels like a product and not a reflection of its subject’s identity crisis.

In a lot of ways, Crisis is a classic example of a movie that wants to be a little bit of everything, only to add up to a much lesser version of something you keep waiting to see.

Even taken simply as a deliberately formless freak-out, the kind that used to turn up regularly back in the heyday of the midnight movie circuit, Tyger Tyger proves to be little more than a tedious bore.

A few sequences of classic T&J comedy aren’t nearly enough to make up for the dull plotting and flat characters in this soulless product, one that will fail equally for adults who grew up on Tom and Jerry, and their kids who have never heard of these characters.

We’re seeing a then-17-year-old Eilish change her style, come into her own and demand control of her image, right down to directing her own music videos. We’re watching the birth of a star, an exhilarating and sometimes excruciating experience.

It’s some of the absolute best work of Hopkins’ lengthy and storied career.

To see him wrestle with his own past, the pressure of a whole country’s dreams, and the relief of making them come true, is occasionally riveting, but it’s also what makes Pelé all the more a missed opportunity for a sharper portrait.

The detached, bemused tone that sustains the film for so long eventually gives way to actual feelings—to its detriment—as this dark comedy steadily turns just plain dark.

An engrossing and frequently extraordinary feature.

Coupled with the talents of cinematographer Ludovica Isidori and music by Rob Rusli, Ford’s Test Pattern is an engrossing human drama, one that examines the intersections and inequalities between race, gender, and healthcare in a poignant and powerful way.

Edward Hall’s new adaptation of Noël Coward’s play Blithe Spirit is so aggressively un-funny it might make audiences unfamiliar with the script's successful track record wonder why it was ever a success in the first place.

A promising but self-thwarting movie like this is more depressing than an outright bad or dumb film.

Though curiously charming, Jumbo behaves like love at first sight that doesn’t think about the consequences of the ardent now or the larger, long-term picture.

Writer/director Tiller Russell doesn't directly ask us to take a side in Silk Road, a dramatization of the creation and downfall of the eponymous darknet website. But the implications of which side the filmmaker wants us to lean toward are strong—and feel a bit disingenuous.

Body Brokers was clearly made with good intentions, but while it might still fill you with anger towards the predatory aspects of the rehabilitation industry, you'll also be upset that the script is not nearly as great as it could have been.

Neither as sweet or profound as the fanciful American indies like Ghost World that clearly inspired it, nor all that insightful in its interpretation of a single mother’s universal struggles, Bagnold Summer is sadly a forgettable film, often too ironically close to being the kind of bore its central character Daniel’s accidental summer in the English suburbs threatens to be.

Hovannisian's documentary would be much more convincing if he picked a single aspect of Tankian’s activism—or composing, or personality—and considered it in greater detail.

The superhero power of this movie comes from its endearingly offbeat characters, goofy humor, and gentle insights about finding optimism even when things go wrong.

Shook, about an influencer being tormented by a mysterious caller, takes the bait on making a movie about such social media vanity, but its touch-and-go terror hardly offers commentary or cleverness.

The filmmaker does a phenomenal job of setting up this world in a natural-seeming way, smuggling mountains of pertinent fact into conversations that pretend to be banal.

Whatever it is going for, it does not get there. Poorly written, directed, performed, and edited, "Bad Cupid" is a Bad Movie.

Yan’s debut as a writer/director is a mostly sturdily constructed, and deftly edited, series of “meanwhiles,” a sprawling narrative of loosely and closely connected people whose lives intertwine in a variety of ways.

Willy’s Wonderland feels like a movie conceived during a drinking game. A few people had a few too many after a few rough days and dared each other to come up with the most ridiculous concept they could get produced.

You long for something evocative and warm throughout The World to Come, only to leave it with a minor shiver.

To the credit of The Map of Tiny Perfect Things, the film knows its pop-culture touchstones (Groundhog Day and Time Bandits) and acknowledges the influence those Harold Ramis and Terry Gilliam classics have on its YA story. That doesn’t make the film particularly unique, but at least it makes The Map of Tiny Perfect Things honest.

The playful “will they or won’t they” dynamic has kept the series moving since Lara Jean first learned that Peter received her love letter. Even if it seems like it's wearing a bit thin by the events in Always and Forever, the affectionate energy between stars Condor and Centineo keeps the sparks flying.

The costume design from Jane Petrie creates a timeless elegance. And Pfeiffer’s performance only becomes richer as her character reveals the kindness that’s been buried within her cool, stylish persona all this time.

The Mauritanian fails to humanize the story it’s telling, never coming off as something more challenging or interesting than a superficial, manipulative accounting of true events.