While Yu doesn’t always balance the zany physical comedy and earnest family drama she aims for, and D’Angelo’s script is packed with far too many threads, the film works largely thanks to the irrepressible charm of star Sandra Oh.

It’s a daring, long film that sometimes feels too chilly and self-indulgent, but it builds to a series of scenes that hit like a punch.

Green continues to establish herself as an insightful chronicler of the minor yet devastating terrors of violent masculinity that many women endure everywhere they go.

It’s a relatively concise, no-nonsense, short (100 minutes) comedy that reminds us that even when we think we’re playing the game, the opponent has a different rulebook.

Del Toro always brings it, and this is actually one of his more intriguing performances in a long time, but one consistently wishes that it was in a movie that knew what to do with it.

A twisted genre experiment that plays with sexuality, classic genre tropes, and general lunacy, it’s half a movie, but it’s so committed to its rebellious tone that it makes for a hell of a half.

There's an overall lack of thoughtfulness in The Nun II regarding scares, and Chaves is vehemently loyal to oversaturated tropes. The movie starkly neglects creativity and, in turn, lacks effective fear.

The main reason that Jawan doesn’t deliver more than what Khan’s previously delivered is because its creators seemingly included every masala-style sub-plot that they could think of.

The cake part of the story feels imposed, a problem since it is the film's organizing principle. It is a tribute to the two young actresses and the supporting cast that this caring friendship survives the artificial cakebarring.

A Million Miles Away is an inspiring movie based on an inspiring story told in an inspiring way. It’s a tale of literally astronomical success in the face of daunting adversity, and it’s important as a reflection of hard-won representation.

This second sequel is escapist in a next-level way: it escapes from drama as well as life.

Although Rotting in the Sun isn’t revelatory about how little those in the higher echelons of society think about the tribulations of average people, the movie’s forceful way of expressing it achieves its presumed goal: to punch up and mock the fools.

Eventually, the lack of werewolf-related carnage is the least concerning thing about My Animal.

This cool, unhurried movie is firmly anchored by a spectacularly modulated performance by Caillee Speeney.

As it is, The Good Mother starts with a gunshot and ends with a whimper.

It’s not always clear what the movie is trying to say, but even its misfires are more interesting than most because of what Reeder and her stars bring to their characters.

The friendship between bear and mouse is truly touching and where the film's real heart beats.

Make no mistake, The Equalizer 3 is hot garbage.

This film is in conversation with existential issues of meaning and with contemporary concerns about the failures of institutional authority, though is not always clear what he wants us to think about it.

It’s disarming and lovely to see a spiritual growth parable rendered in Anderson’s jewel-box style. His delivery here is not willfully eccentric but gorgeously centered. Form underscores content in "Henry Sugar" in a most delightful way.

This is a movie that gleefully wallows in the ooey-gooey muck of its insane premise. Similar to “Cocaine Bear” and “M3GAN” (but not quite as successful), Slotherhouse knows exactly what it is and revels in increasingly hilarious violence.

Salvador's movie wants to penetrate something elemental in the viewer; if you can give in to its vision in good faith, it might just do that for you.

Here is a film so devoid of thrills, excitement, or purpose that it seems to have been custom-made to play in empty multiplexes during the traditionally dead last weeks of summer.

The resilience in Scrapper is a type of lived creativity, an imaginative space where Georgie—and her father—make up their own rules and their own world. This is an amazing directorial debut.

Foumbi’s Our Father, The Devil manages to take overused themes like trauma and grief and imbue them with every facet of their respective meaning.

It is a stunning mood piece that takes pride in its stillness and slow pace, ultimately delivering a tale of intimacy, searching, and quiet strength.

There's a sweetness to this story that reflects Adam Sandler’s real-life love for his family.

Given that she’s one of the greatest actresses of her time, Mirren naturally finds ways to reveal glimmers of humanity in her portrayal of former Israeli Prime Minister Golda Meir. But the artifice of her physical transformation too often smothers her, resulting in a stoicism that makes her an elusive figure.