Then again, even they may find that this collection of half-baked scenes, inscrutable imagery and, yes, a couple of splendid musical performances wears out its welcome long before its conclusion.

That the perspective this time is from a girl’s point of view rather than a boy’s is significant. At least it is in theory. The scripter is Joe Kelly, who, along with J.M. Ken Nimura, created the comic. It’s not a knock to note that the main creative talents behind the camera are male — the women of the cast are clearly imbuing their characterizations with what they know. But there’s still something about I Kill Giants that feels projected, a work more informed by empathy than experience.

I’ve seen Ismael’s Ghosts twice, and both times I got the feeling that I was missing something. The film feels very personal, as if writer/director Arnaud Desplechin were sorting out his thoughts, processes and demons onscreen.

For myself, I couldn’t avoid the irony that, in finding it ultimately rather superficial and self-satisfied in that particular Parisian way, I was echoing Antoine’s criticism of Olivia’s writing.

The depictions of artistic struggle and mania, the communication of the artist’s frequently painful bubble, are insightful and rewarding. The warts-and-all depiction of Giacometti, which establishes a credible explanation if not excuse for the many selfish acts he’s seen doing, winds up being an apt tribute to both the artist and art itself.

It will work best for those lamenting the cancellation of the Comedy Central hit that spawned it, but probably not much for anyone else.

With little wit to its name, Sherlock Gnomes becomes far more tedious than playful.

Both actors are gorgeous, of course, which heightens the romantic fantasy of it all, but there's also a naturalism to them that's appealing.

Isle of Dogs does not have a compelling story, and even worse, it has the most egregious examples of its director’s privilege since “The Darjeeling Limited.” This movie really pissed me off, and the only thing I found soothing while watching it was silently repeating to myself “the dogs are very furry.” Reminding myself of the film’s best asset kept me from walking out.

The cast is filled with actors doing everything they can to make their characters as memorable as possible even when the script (credited to four people) isn't lending them the support they deserve.

Again and again, I marveled at the humanist depth of the world Haigh creates, one that can only be rendered by a truly great writer and director, working near the top of his game.

Even with the inclusion of modern cell phones, this 2018 release feels like it arrived fresh from 1974, and that is what makes it a delight.

The cast's heroic exertions fail to save Flower from its own worst tendencies.

On the surface, Unsane is a potboiler, a routine stalker thriller. But it works because of how much there is going on within that familiar structure, courtesy of Jonathan Bernstein & James Greer’s smart script, Soderbergh’s claustrophobic direction, and Claire Foy’s committed lead performance.

The just-shy-of-great teen comedy Dear Dictator is the rare high-concept coming-of-age story with enough warmth and smart-ass charm to (hopefully!) make it accessible for a fairly wide cross-section of moviegoers.

It's telling that Demon House features a real-life exorcism, but it feels more superficial than supernatural.

As the movie did its slow fizzle, I couldn’t help but wonder when the #MeToo movement was going to make its way into actual movie content. Because the misogyny inherent in Josie isn’t just objectionable, it’s boring.

A documentary that offers some fascinating if glancing insights into a rich and timely subject but ends up being more frustrating than enlightening.

Wood, whose whippet-thin appearance in this dank noir-ish drama semi-draped in mystery could be described as Kristen Stewart lite, fully dedicates herself to embodying a rather unpleasant and contradictory character as she attracts her prey and then goes about abusing them physically and emotionally.

Dibbs does a fine job bringing a nuanced, realistic visual style to this venerable tale of war’s cruel and colossal wastes, and his actors are all first-rate, with Bettany a special stand-out.

Director Greg Berlanti, who has helmed a string of hit television shows as producer and writer, uses the familiar teenage romance genre to tell an LGBTQ story, and in so doing makes these tropes feel fresh, fun, entertaining.

Weirdly sluggish and dull.

Much better and more original than anyone could have expected.

It is incredibly difficult to love an addict. Not only does their addiction continuously define the dynamic of your relationship, but they are like a drowning man, able to take you down with them as they flail their arms and fight for air. Rarely has a film captured this better than Marja-Lewis Ryan’s 6 Balloons.

It's less concerned with covering the totality of his life than evoking his life force, which is good-humored, earthy and inspiring.

A Quiet Place shreds the nerves, but it does so in a way that feels rewarding. You don’t just walk out having experienced a thrill ride, you walk out on a high, the kind of high that only comes from the best horror movies.

There are some decent ideas for a comedy in Blockers, and some very funny scenes from a cast with rock-solid comic timing, but the movie was either rewritten one too many times or one too few.

The Forgiven consequently only succeeds as an ugly, empty-headed provocation.