Escape finds an interesting subject in that ambiguous line, but never examines it closely enough to convey what it’s like to be invisible while in service to your own country.

After the forced bursts of energy, nightmarish dream sequences, and a strained bit of self-absolution recede, you soon realize that writer/director Niclas Larsson’s “Mother, Couch,” a morose, nonsensical family drama is about as interesting as the lint between the cushions.

Goldilocks and the Two Bears is probably supposed to be "provocative," "shocking," and "playful," the title being what it is. The film is none of these things.

Writer/director Liz W. Garcia plays it safe here, with a result that has no surprises but is effectively entertaining, thanks largely to Roberts’ performance, which she seems to be enjoying so much it would be impossible not to enjoy it with her.

Kill tics off most of the essential boxes for a good popcorn flick, making it easy to resist but harder to pass up.

It's your standard warm, fuzzy tale of Christian love that plays to the church set in ways that are hardly objectionable, even as it plays those notes straight down the middle with little finesse.

Despicable Me 4 won't win any prizes, but if you like this kind of thing, you'll like this thing. I laughed. The dumber and more random the jokes, the harder I laughed. The kids I saw it with laughed harder.

While the world becomes a more divisive, tumultuous, anxiety-producing place by the day in Summer 2024, there’s something almost comforting about a movie that, like the no-nonsense cop of its title, gets the job done.

Goofy, over-earnest, and just good enough where it counts, Kalki 2898 AD outdistances its competition simply by digging deeper than expected into its patchy lore’s rich melodramatic turf.

A searing drama about a European refugee crisis that resonates with similar crises in Africa, Asia, the Middle East, and yes, America’s southwestern border, Agnieszka Holland’s “Green Border” strikes me as the best and most important film to be released in the U.S. so far this year.

Breillat’s approach is technically intimate yet tonally detached -- languid as a summer’s day, sometimes unbearably so, and often uncomfortably warm.

Hall's dialogue compels you to listen, to lean in, but Johnson and Penn draw us into their separate worlds and histories, each face telling a million stories.

It's fragmented by nature—a work of impressionistic moments in which intellectual and philosophical ideas are considered, and powerful emotions summoned and then allowed to dissipate.

This movie’s not frustrating because it’s blunt or vicious, but because its creators are only so interested in a world condemning Agnes to a dire fate. Her actions may ultimately be shocking, but her story is anything but.

A proudly old-fashioned Gothic fable with grain and grit, the delectable “Vourdalak” is swift to announce in its early moments that we are in the hands of a skillful stylist.

It is a daring and assured subversion of conventional film language that will likely infuriate certain viewers and reward others.

As mundane as its title, with characters whose color-by-numbers personalities and motivations shift randomly to fit a predictable storyline, “A Family Affair” is a low-wattage rom-com.

With "Confessions of a Good Samaritan," Lane is in her most confessional mode yet, finally turning the camera fully on herself.

The first two-thirds of "A Sacrifice" are a largely leaden affair that offers viewers little that they haven’t seen before. It isn’t even awful so much as it is intensely forgettable—the kind of film whose title eludes you even as you watch it.

With its image folding onto itself like a wave in unstoppable motion, “The Human Surge 3” envelops the senses until the very end.

There are enough interesting ideas and at least two confident performances holding A Quiet Place: Day One together, even if it sometimes feels like a first draft of a richer, more complex final film.

While the text of “Kinds of Kindness” is rich enough to unpack in thinkpieces and coffee house conversations, there is a sense that there hasn’t been as much careful consideration of how it all ties together as in some of his best films.

It’s breezy and entertaining, certainly, but ultimately feels like little more than a 97-minute ad for the wrap dress.

The world Baker creates for her characters is so rich, warm, and beautiful.

Fancy Dance reminds us of how communities care for each other, regardless of the risk involved. Tremblay’s narrative debut is simply beautiful, and hopefully, there’s much more to come.

Copa 71 is stirring, exciting, and lively, a kinetic tale that finally spotlights the revolutionary event that didn’t quite turn the tide but certainly started the wave.

Compact in its runtime, “Chestnut” offers a softly lyrical glimpse of young life on the precipice of a new and uncertain future.

In keeping with this trend, Ariane Louis-Seize's delightful “Humanist Vampire Seeking Consenting Suicidal Person” drives a wooden stake of complexity through vampire mythology, offering a fresh new take through a pacifistic protagonist.