The scratchy, VHS-quality visuals and cheesy graphics of the film’s opening suggest that we shouldn’t take any of this too seriously, but rather enjoy the lo-fi, ‘80s nostalgia trip. And a scrappy, underdog enthusiasm is unmistakable throughout.

Co-directors and writers Billy Bryk and “Stranger Things” star Finn Wolfhard pay homage to ‘80s body count pics with a sappy but likable coming-of-age comedy about a group of summer camp counselors who are stalked and slayed by a masked killer.

Cognetti’s skill with found footage does him no favors here, as this flick is laden with awful dialogue, worse performances, dumb plotting, and a truly inane ending. Set your horror GPS to a different location.

Shaping their film in the destabilizing isolation of COVID, Mastroianni and Sloan conjure from their native New Jersey an evanescent realm, all empty husks and outskirts, where people are slowly swallowed up and buildings linger like phantom limbs, no longer quite there but still full of feeling. They make that place palpable with a vision that feels at once ingenious and highly genuine.

In addition to Ozon’s impressive work as writer and director, much of the credit for “When Fall is Coming” belongs to the ensemble cast, each of whom brings a unique element to the mix that makes the story so engrossing.

Párvulos remains a largely successful, if sometimes too idiosyncratic, take on the zombie story. The creature prosthetics remain grisly fun, and even among the washed-out cinematography, the blood thrums with crimson terror in one gory sequence after another.

It could be funnier. It could be a lot smarter. It could look better. But it also could have been significantly worse, working as much as it does because it knows that you don’t need to be great if you’re this Goofy.

A video game movie that encourages creation instead of just uplifting capitalism? That’s a small victory in 2025.

Even when there’s a comically large moon that feels ripped from a Méliès movie undercutting whatever emotional drama Ayer wants to pull in the film’s climactic raid on a brothel, it doesn’t matter. Because if “The Meg,” “Wrath of Man” or “The Beekeeper” proved anything, it’s that it doesn’t matter how outlandish or overcooked the movie is. Nothing can slow down Statham.

This is a thoroughly fascinating documentary about a family discovering the depth and complexity of their patriarch while coming to terms with his flaws, as well as the capitalist system of art exhibition and sale that has different tiers and gatekeepers, depending on who you are and your version of life.

The work Watts and Murray do in this sequence is both emotionally raw and acutely thoughtful, rife with specificity. It’s career-high stuff.

Based on a 2016 memoir by Tom Mitchell, “The Penguin Lessons” wants to be a thoughtful light entertainment about ideals and courage, but ends up seeming grotesquely misguided.

Viewers looking for a tidy narrative and gratifying conclusions will come up short with this movie. But if you can roll with atmospherics that are their own reason for being, “Grand Tour” has plenty, and they’re all beautifully realized.

Leonardo van Dijl’’s “Julie Keeps Quiet” is more about what is left unsaid than what’s spoken. Co-written by van Dijl and Ruth Becquart, the film is a quiet drama about keeping secrets buried within and what happens when details finally come to light.

Việt and Nam only initially looks like something that you might expect to find on John Waters’ Best of the Year list. Soon enough the movie becomes a gentle romance about loving the dead.

It’s very clear that Braverman has a lot of respect and reverence for his subject, and it’s worth a watch for those who are curious about this goofy guy who used to slap on a foreign accent and play with bongos & people’s perceptions.

It is the story of Dr. Audrey Evans (Natalie Dormer), whose accomplishments in diagnosis, treatment, and support for young patients and their families could fill at least three movies. “Audrey’s Children” manages to combine all three in a solid, often engaging and inspiring drama, anchored by Dormer’s committed performance.

While the film does subvert basic audience expectations, it doesn’t really do anything beyond that as it stumbles through a choppy and meandering narrative that not even an admittedly committed lead performance by Danielle Deadwyler can help save.

The film’s quiet approach doesn’t rely on overworked sentimentality or melodramatic angst. It washes over you, pulling you forward toward its heart through the natural strength of its emotional tide.

This disaster can’t be waved off as shallow escapism because “Tyler Perry’s Duplicity” fails on that level too, possibly keeping bored people engaged enough to follow its mystery but never really entertained.

The homages and borrowings—not just from Scorsese’s oeuvre but other widely-seen films, including a brazen lift from “Boogie Nights”—constrict the movie and prevent it from breathing on its own.

This is a delightful, thought-provoking movie that’s about a lot of things at the same time. It’ll make you see the world with fresh eyes, and probably wonder why there isn’t more art in it.

When “Revelations” isn’t investigating signs, it’s a dry, psychologically driven ghost story.

The first feature from the longtime music video director has a ton of style, and signals from the beginning her confident use of framing, texture and color.

It’s not a hard movie to follow or fall for, as fans of Guiraudie’s earlier movies already know. He commands our attention even when his characters are either too ridiculous or too petty to be taken seriously.

As a gangster film, “The Alto Knights” does little more than putter along, taking in very few new or interesting sights along the way.

Maria Schneider’s story is a tragic and often infuriating one, and “Being Maria” captures the complexity of the situation.

Locked starts promisingly, and then almost refuses to really go anywhere, trapped by its own concept and unwillingness to do anything thematically richer than “wealthy people be crazy.”