The sole redeeming quality in this 85-minute swill resides in the makeup and practical effects, which rely on viscous blood and gnarly props that make the kills hard to stomach.

Higuchi and Anno not only deliver the genre movie goods but also deftly preserve their title character’s sugary purity. Rather than gigantify what was always juvenile material, Shin Ultraman allows the iconic character to retain his original shape and proportions. You and your dad are gonna love the new Ultraman movie.

The plot does have a few weak points and dangling threads, and the PG-13 rating ensures that the violence is tamped down before it can reach its full bloody potential...But the tongue-in-cheek tone is so consistent that M3gan is a hoot anyway.

Amid tableaus of sundrenched landscapes, Simón’s instinct for eliciting naturalistic performances—displayed in her feature debut “Summer 1993"—marries a remarkably stealth narrative structure that lets us into the lives of these people, collectively and individually.

The Western may not be entirely dead yet, but The Old Way is not exactly doing it any favors.

Gottlieb (the director) uses a very light touch throughout. This is a family affair.

A Man Called Otto isn’t exactly as philosophical as “About Schmidt” or as socially conscious as “I, Daniel Blake,” two films that occasionally hit similar notes. But it’s nevertheless a wholesome crowd-pleaser for your next family gathering.

Bill Nighy is a fun, uninhibited actor, but there's an abashed, melancholy quality to him that hasn't been fully explored until Living, a drama about a senior citizen reckoning with his life.

Sarah Polley's trust in the material—and her actors—allows for the performances to flourish, and the performances drive the story along with the barrage of words.

This is a moving drama about people pushed together by fate who end up not merely helping each other survive but elevate through an increasingly harsh world.

The sumptuous settings, elegiac tone, and Krieps' layered performance bring us into the world of this woman caught between the expectations of her culture and her own desires.

It’s only after the supposedly central mystery is solved that The Pale Blue Eye fully commits to its actual business, serving up in full a tale of loss and wrong-headed resolution. Bale’s characterization, subtle and slightly enigmatic throughout, here blooms. And eventually sears.

It may not come together as smoothly as the best feel-good movies of its kind, but there's an unwieldy charm to Joyride that makes the trip memorable.

No Bears is a picture that’s in keeping with his recent work—circumstances deemed that it just had to be—but one that breaks away from it in ways that yield a work of, yes, astonishment.

The indelible, unmatched voice of Houston may live on, but I Wanna Dance with Somebody lacks the ingredients of what made Houston a force that permanently altered every person who truly heard her.

Puss in Boots: The Last Wish is as spry and light on its feet as its titular feline.

While the points where Wildcat goes beyond simply being a feel-good nature documentary and delves into Harry’s mental health struggles are honest, they raise more questions than they answer.

A great score, a talented ensemble, and expert cinematography—all are undeniable here. And yet there are narrative elements of Babylon that feel hollow from the very beginning and only get more so as Chazelle tries to inject some manipulative lessons into the final scenes.

It's a portrait of a hard-drinking, charismatic, obnoxious self-styled rebel who was his own worst enemy but whose brilliance and tenacity allowed him to thrive in an industry that wouldn't ordinarily have any use for someone like him.

What interactions are “real” and what is imagined or symbolic is left to us to sort through, or just to decide it does not matter. Each moment is presented to us with vibrance and wit.

Although this is all presented by Diễm with no judgment, it’s hard to watch such young girls be so blithe about a tradition that robs them of their autonomy.

If These Walls Could Sing never feels as comprehensive as it could be about the subject. It operates as an addendum to better Beatles documentaries like "Eight Days a Week," "George Harrison: Living in the Material World," and "The Beatles Anthology," and that lack of an identity prevents McCartney's film from being a well-earned tribute to one of the world's iconic studios.

Watching The Apology, one gets the sense that Locke and her team got to tell the exact story they wanted to and on their terms. Their drama has unusual integrity since it's (mostly) not about canned answers to complex questions.

The compact documentary is ultimately more an exercise for the filmmakers than it is a truly rewarding cinematic experience for the audience.

Cameron invites viewers into this fully realized world with so many striking images and phenomenally rendered action scenes that everything else fades away.

The Whale is an abhorrent film, but it also features excellent performances.

Empire of Light never entirely coheres, but it's worth seeing for the power of Colman's lead performance and the expertly judged backup acting.

This is a nice film. A sweet film. A film you can watch with your mother-in-law.