For the most part, the new “Bad Genius” doesn’t enhance more than it adds to its source material. It’s still a better-than-average redo, if only because it doesn’t break what never really needed fixing.

So, if the couple at the center of this romantic comedy lacks chemistry, can you at least enjoy the scenery or the retreat’s resort? Unfortunately, this is not “White Lotus.”

This doesn’t just go sideways. It goes in several directions at once, often in ways that are nearly impossible to follow, but it really comes down to how much you enjoy the challenge.

The film captures both the pain and the power of people at the base of a global infrastructure. By not departing from the frontlines of the fight against Amazon’s labor exploitation, Story and Maing bring the true face of their struggle into focus.

It’s a gorgeous artifact and a cinematic experiment that works beautifully, one innovative frame at a time, centered on Ronan’s soaring and soul-restoring performance.

It won’t exactly hold you under its spell, but it might charm just enough for the sparse 90 minutes of attention it requests.

Somewhere along the road between Montreal and Mongolia, Namibia and Nepal, Egypt and Ecuador, “Blink” achieves a transcendent state of grace.

It creates a world with its own rules and tells a story in its own visual language. It seems it will come to a very obvious conclusion, but then it pivots and introduces elements that create a new frame for the movie. Fifteen minutes later, it does this again, and then again.

The Holocaust drama “White Bird” is a sensitive, well-meaning but ultimately rather programmatic film, presenting the tragedy mainly as a school lesson for present-day kids.

It’s What’s Inside is a fun jaunt through the dynamics of a friend group and the interiorities of its members, even as it sanitizes its potential.

The funniest thing about “Daaaaalí!” is how often Dupieux succeeds at tricking you into thinking that he’s about to zig when he’s clearly ready to zag. It’s not a sophisticated bit, but Dupieux’s commitment to illogical anti-humor remains pretty disarming.

By anonymizing both the callers and the places featured in the documentary, “Intercepted” becomes a sobering portrait of the many millions of lives interrupted by this war.

Neither the tacky ending nor the very existence of this second installment is earned. Instead, it languishes as the squeezing of the final drops of a once bright idea.

In the end, the wafer-thin story amounts to the same nihilistic slop that Phillips served up in the first “Joker,” albeit remixed, genre-wise.

It’s anchored by a typically strong Sarah Paulson performance, to be sure. But “Hold Your Breath” is nonetheless a frustrating work, a sequence of powerful scenes that aren’t tied together with enough tension to make us care. It’s a film filled with moments but no momentum.

It’s no exaggeration to say there are scene transitions in “Salem’s Lot” in which it honestly feels like maybe you accidentally fast-forwarded a few minutes and missed the connective tissue.

Beautiful, melancholy and intellectually stimulating, “Dahomey” is a documentary that should be seen by all.

Siva rarely challenges his charming ensemble cast to step outside of their comfort zones, but he and his collaborators still deliver a lot of what you might want from an action-musical about a pack of murderous, but righteous pirates.

A clear masterpiece held together by visual splendor and idiosyncratic performances.

This is not so much a movie about a straight and cisgender-identifying person learning how to accept his old pal in a new package.

The only chance of experiencing any actual chills is if you doze off and generate a more interesting nightmare of your own.

Kuras understands the unique position of the photographer as intrusive but unobtrusive, sensitive enough to see where the story is but removed enough to maintain observer status. However, as for more about who she was, Miller stays frustratingly out of focus.

Ultimately, “Azrael” lacks the energy or chills to terrify viewers.

Amber Alert sometimes works as a thriller, but it has serious aspirations. It wants to “say” something. These two things don’t come together.

For all its investigation of rifts in reality and parallel universes, “The Universal Theory” provides proof only of the truth’s inherent slipperiness — and of its director’s great affection for his influences.

In his impressive debut feature, writer/director Jason Yu strikes a fine balance between character-driven and high-concept horror.

Vigilante justice has taken a new form in an era of internet mobs, but Ryoo hasn’t made a simple cautionary tale about online justice—he’s crafted a film that’s wildly entertaining but also has a great deal on its mind about how far we should be willing to go to balance the scales. Is there such a thing as good murder?

Is this a satire of the American Dream? A horror movie about how it became a nightmare? Or a comedy about a buffoon who basically stumbled into the men’s room on the right day? It seems unwilling to really answer these questions, content to substitute easy shots for difficult conversations about capitalism, politics, family, and marriage.