The main problem is: It's not actually clear what is appealing and/or interesting about any of these people.

The Quarry may be a slow burn from a dramatic standpoint but it is only when Shannon is around that it flickers, however briefly, to life.

It’s an acting dream part and Moura’s more than up to the challenge.

From the moment Selah is shown on her wicker chair throne off-campus, Selah and the Spades is impressively filled with style. Through the lens of cinematographer Jomo Fray, the film is vibrantly colorful yet moody, dripping with teen angst.

It takes its sweet time getting to the point, and generally speaking, the less interested it is in moving the plot along, the weirder and funnier it becomes.

Tigertail floats back and forth between the present and the past, an effective device that creates comparisons, often painful, between Pin-Jiu's hopes as a young man and the disappointments and hardships of the years following.

I fully endorse the message blatantly expressed by Beemer’s picture, but as a work of cinema, it drove me nuts in how its style was antithetical to the principles its numerous subjects were championing.

It's not about the hard work that's intrinsic with all of wrestling, so much as the WWE's open willingness to sacrifice its core values for lazy family-friendly amusement.

Our characters here are not so much stuck in a time loop, as they are in a very lazy movie filled with cliches and middle school-level humor, and which starts over half-way through the events for no reason. The joke is on anyone who mistakes this movie for entertainment.

A solid adult drama, a movie that’s too soft at times but more often tender with its characters. It’s not a film designed to break any new ground, but Wight has skill with character, finding nuance in those moments that many other writer/directors would have turned into pure cliché.

The proceedings are not entirely unamusing in their lurid way, but they’re also not nearly as clever as the filmmakers believed or hoped they would be.

You wonder how high “Sea Fever” could have risen, if only Hardiman had truly embraced the bare bones of the genre, indulging in some well-wrought group dynamics and even a pair of sneaky jump-scares to boot.

It’s a movie for the kids to watch after overdosing on Easter candy, and there’s something to be said for watching a movie this unapologetically bright in a world that feels pretty dark right now.

So while Clover may not be original, it is pretty watchable.

It's not the movie's fault, per se, although Almost Love has problems other than being jarringly out of date with How We Live Now.

It never quite works on its own. What’s crucial at the core is creating a character who feels like a real human being; Susan is more of a collection of quirks and bad choices. There just isn’t much to her. And the novelty alone of seeing Hayes play a woman is not enough to recommend this, although he does offer sporadic glimmers of vulnerability and humanity.

The voice-over explains things that we could have understood from looking at the images. It rarely passes up the opportunity to drop in a cliche.

Coffee & Kareem is stock R-rated buddy-cop comedy shenanigans by way of cuteness, and it ain't "Stuber."

They hold our attention with skillful use of animation and other visuals, touches of wry humor, and brisk pacing, but it is the heroine at the heart of the film who gives us hope and perhaps inspiration to try some town halls, petitions, and lawsuits of our own to protect the voting rights that are essential for a just and trustworthy government.

As wonderful as The Other Lamb appears on screen and its cast embodies the story’s tension, it feels as if there is missing something from the final picture. The movie is slight in its exploration of dark subjects like cults, inter-generational dynamics and abuse, without coming to any kind of conclusion or closure.

While the documentary has the feel of a scrappy passion project, the message itself remains powerful. Given the chaotic times, There’s Something in the Water also serves as a stark reminder that not all governments have their citizens’ best interests at heart.

In the days where we’re all cooped up at home, there are certainly worse things you could do than settling in front of this pleasant film and its upbeat musical tracks (original music by Hit Boy) with a positive attitude and a smooth bottle of wine. It will go down easy.

Make it through the first 10 minutes. It’s just the film warming up. The rest of it flows.

It’s a cogent expression of the proper spirit of resistance—that it should be based in love, but expressed in action. Direct, effective action.

Vivarium isn’t a fun watch, and not just because it’s generally claustrophobic and insistently bleak.

Tape isn’t just a movie. It is a rallying cry.

Expertly editing together moving interviews with its subjects with archival material, Crip Camp: A Disability Revolution becomes a commentary on how to change the world. It’s not just common human decency that should lead to equality for disabled people, but the truth that empowerment for everyone is the only path to true progress for anyone.

As we see how society functions (or fails to do so) in the face of one of history’s most devastating crises, take some time out and watch The Platform, a funhouse mirror reflection of our world.