Sly is a frustratingly unrealized work, always hovering on the edge of real insight but rarely jumping into it.

What Happens Later doesn't reach the heights of Ryan’s beloved romantic comedies, but its sweet comforts might be just the ticket if you’re looking for laughter-through-tears on the couch on a Sunday afternoon.

The makers of Going to Mars do right by Giovanni by showing how she speaks for herself.

Rustin was undoubtedly made in admiration of its subject. Yet, with a stale approach to its plotline and confused narrative priorities, the film is more like an educational outline than a spirited story.

Despite strong work from Ben Mendelsohn, Daisy Ridley, and Gil Birmingham, director Neil Burger's adaptation is a medium-level thriller.

Wingwomen, based on the graphic novel The Grand Odalisque by Jérôme Mulot, Florent Ruppert, and Bastien Vivès, is an action-packed heist film, but it leaves enormous room for the most important thing: Carole and Alex's friendship.

Subject includes harrowing stories while leading voices in the documentary sphere offer their insights. It’s not a film out for blood, which becomes a blessing and a curse for its filmmakers.

Directed by Madeleine Gavin, Beyond Utopia is a bracing and frequently jaw-dropping look at, first and foremost, the discontented people of North Korea who attempt defections doggedly. It’s a more difficult trip than you’d probably imagine.

As Sergio and Chucho share the names of the teachers who inspired them, we see Chucho begin to reconnect with what led him to become an educator. If we are lucky, we have at least one teacher in our past who showed us what we are capable of. If not, Sergio can help remind us that it is never too late.

Eklund wastes little time getting to “the good stuff” as the film’s slasher works his way through the employees at the camp and the people who have come there to learn about the power of positive thinking.

As Olfa and the sisters give perspective on their shared trauma and heartbreak and discuss the underlying principles of it with each other and the actresses, what ensues is not simply the story of a family but a tour de force examination of women’s place in the world and the costs of how they choose to cope with it.

The most impressive thing about Pierre Morel’s film is how it takes two actors as generally likable as John Cena and Alison Brie and makes them such bland avatars for actual people that they fade into the dull background of action-comedy noise this “movie” tries to achieve.

Five Nights at Freddy’s has most of the right elements for a good post-Amblin kiddy fright-fest, except maybe good dialogue and distinct characters. Watching the movie, one gets the sense that the games’ morbid personality has been sanded down to its most generic jump-scares and banal revelations.

To Kill a Tiger tells an important story in a compelling manner that makes it worth watching, but its journey is so intense at times it might prove to be too much for some.

Few threats are more pertinent to the earth's future than deep-sea mining. I can think of no documentary as ill-equipped to inform viewers of this peril than director Matthieu Rytz’s scattered and vague documentary Deep Rising.

America has long had its wildest forms of fantasy and comfort fueled by promises about things that are not of this world. Stuff we can’t confirm until we die. An afterlife, the pearly gates. After Death follows this tradition, with a cadre of talking heads who had incredibly traumatic physical instances that are bundled here as Near-Death Experiences that prove the existence of God and Heaven.

Though the story that Lee reconstructs in Yellow Door: '90s Lo-fi Film Club is fascinating, it's given a limited visual presentation here, often using talking head-style interviews of the various members of the group.

While neither particularly profound nor earth-shatteringly scary, Suitable Flesh is better than passable grisly horror fun in a very specific tradition.

Korem doesn’t uncover too much that’s new, but more than three decades later, he gives key players the opportunity to share their memories and perspectives. The passage of time provides frank reassessments—some tragic, some humorous.

The twenty-something drama Waiting for the Light to Change is an impressive debut from director-cowriter Linh Tran. Set in a Michigan lake house during winter, it's a minimalist youth drama with lakefront atmosphere, a controlled, at times minimalist directorial style, and a cast that approaches the material with disarming naturalism.

The Persian Version pulses with personality, striking an excellent balance between humor and heart.

It's a pretty standard story of sports uplift, a familiar tale of triumph over adversity.

Butcher’s Crossing is unfocused, distant, and flat.

Night of the Hunted might have been a productively grim exercise if it didn’t feel like Alice’s dilemma wasn’t just a pretext for more ostensibly shocking talking points.

Old Dads has a great cast, but it's barely a movie. That's a shame, because it's the directorial debut of Bill Burr.

The Killer may be based on a graphic novel by Alexis “Matz” Nolent, but it feels like Fincher's most personal film to date.

With beautiful cinematography and quiet, contemplative performances, there’s no denying how captivating The Delinquents is at the outset. But as the film progresses, it seems to lose sight of itself. Even with a runtime that exceeds three hours, the ideas and characters explored in The Delinquents are incomplete.