Gleefully high-concept and defiantly low-budget two-hander.

The optimistic, twisting core of what 2067 is about will keep genre fans engaged even as the increasingly bad performances and frustrating writing pushes them away at the same time.

An engrossing and often thrilling spy drama, and a tribute to this courageous and diverse group of women.

Possessor is humorless, start to finish. Its energy is ponderous and glum, and the provocative ideas are not given a chance to really take on a life of their own. Still, there's much here that is imaginative and fresh.

Maybe Dick Johnson is Dead is the filmmaking equivalent of the band on the deck of the Titanic playing their hearts out while the water rises. If so, the movie is aware that it might be that thing, and seems content to be that thing. That's every movie, every story. When the end is preordained, you might as well make music.

The Glorias is consistently a visual treat, as you’d expect from Taymor.

I prefer, and recommend, the original, but I’m on the fence about this one. Your mileage may vary.

The result is a film that feels deeply personal, and not always in a good way. It’s a film that can’t help but feel a little like an invasion of privacy.

If the action and espionage elements were executed at the same level as the dramatic and comedic exchanges and the observations about the types of people drawn to this life, Ava might've been a cult classic.

Mangrove becomes a full-on courtroom drama. The standard, expected beats and tropes are hit, but what happens within those elements makes the film so powerful and so rewarding. The lead actors also step up their game here, with each getting juicy dramatic moments that linger long after the credits roll.

If you can look beyond the 90-minute runtime depriving this movie of a more satisfying conclusion, there is not simply “a lot to like,” there’s an embarrassment of riches crying out for perusal. On the Rocks is the kind of doodle only a truly skilled director could produce.

Based solely on its own merits, Shortcut is both an amateurish production and a mindless genre exercise.

In its attempt to cram too many narratives and subjects into too short of a running time, it ends up coming across as both overstuffed and oddly undernourished.

Nothing about this inert, dull project feels like a movie. It’s a half-idea, half-heartedly filmed. Yes, it’s a kids’ movie, but kids are smarter in 2020 about their action entertainment and putting this alongside all the Marvel movies on Disney Plus feels almost mean.

Had the filmmakers put forth the effort to view the story through Jamal’s eyes, they may have had a worthy cinematic counterpart to their noble off-camera achievements.

An attempt to tell this complicated intersectional story, and it does so with a comedic light-hearted style, sometimes appropriate, but sometimes inadequate to the possibilities inherent in the real-life event.

The dénouement of The Artist’s Wife, wasting compassion on a character who has earned only the minimum, winds up fully validating an ideology and morality that is complicit in women’s oppression.

It looks and sounds great, but should it?

July’s best and most mature work to date, the often hilarious and gradually heartbreaking Kajillionaire.

This may be the start of a most welcome girl-powered franchise.

The Swerve is the opposite of comforting.

Thankfully, there’s enough affection and charm in the movie’s first half to keep Teenage Badass running on fumes most of the way home.

The entire story takes place in and around a spectacular house with curiously sterile interiors that are more like the setting of a magazine ad for expensive liquor than a home real people live in. The bigger problem is that the world of the characters is not fully inhabited either.

Lost Girls and Love Hotels is too vapid to work as a psychological drama, too silly to work as a passionate romance, and too tepid to work as a sexy guilty pleasure.

Alone gives us little reason to care if our hero makes it out alive, but I have to give credit where it’s due: Jessica isn’t written as some damsel in distress. Though she does make a questionable choice or two, she’s more crafty and engaged than a standard victim.

Agenda-driven films make for dreary viewing and Infidel is never dreary. Aided by excellent performances across the board by its international cast, "Infidel" works best when it's an old-fashioned thriller.

Writer-director Sean Durkin ("Martha Marcy May Marlene") has delivered a nearly perfect film here — the cinematic equivalent of of those substantial, long-but-not-too-long short stories that says everything about its subject without actually saying everything.

The viewer is not only a fly on the wall at this party, they are also on the dance floor being carried along as the music moves them.