It feels a wee bit padded even at a brisk 96 minutes (it’s tough to do “deadpan” in a comedy and not have it come off as merely slow) and has trouble staying on the right side of too-cutesy. But it sustains an innocent storybook tone throughout, thanks mainly to strong performances from its lead actors, Elijah Wood and Nell Fisher, and lush images of the New Zealand countryside.

Goodrich is the type of rewatchable adult-minded comedy that feels like a welcome sight.

It’s about empowerment, empathy, and the impact we can have on one another, even those we never meet. You’ll cry. It’s worth the tears.

It’s a pretty good movie that, thanks mainly to its performances, has a lot more life than you might expect, given the concept and the formulaic way that it hits its major story points.

Vettaiyan may sometimes feel like the worst kind of throwback, but it still manages to coast on its star and his collaborators’ unshakable faith in crowd-pleasing movie logic. The filmmakers don’t miss a formulaic story beat nor do they skimp on what they think their audience will want from Rajinikanth.

The film is not just a glossy period piece; it’s an emotional story about human resilience, one that’s sadly still too familiar almost a century later.

Leone continues to grow as a filmmaker—and there’s something interesting about watching that unfold throughout the franchise. But his screenwriting continues to let him down, jumbling his concepts with shallow mythology, atrocious dialogue, and ridiculous padding, leading to another film in this series that pushes over two hours. I’m still rooting for Leone to figure it out, but it’s not in this one.

It’s an ambitious slice of micro-budget filmmaking that uses the canvas of isolated rural life to paint a relevant story about living in a world where violence threatens at every corner.

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.