At times, the movie is deeply compelling, but its complexities can get lost in the shuffle and repetition of the same points. Striking cinematography and philosophical reflections can’t make up for this too-slow film that pokes at life’s meaningful moments without inspecting them further.

The film is compelling and quietly thought-provoking as it peels back the layers of the relationships at the forefront, while also showcasing the discomfort that follows but isn’t always picked up on.

The film gives good insight into the confusion and fear we may face when exploring our sense of self.

With personal and generational trauma at the forefront of the story, Eisenberg delivers a heartwarming film that strengthens family ties and underscores the difficulty in speaking about the pain between its members, no matter how close they used to be.

West Side Story is visually entrancing, emotional, and the choreography and staging magnetic even when certain aspects of the story don’t always work.

The film has its fair share of intoxicatingly gripping moments and watching Kaluuya as Hampton is visceral and empowering. Unfortunately, it never feels like the story gets out of its own way enough to flourish, nor does it explore the complexities needed to emphasize and humanize the characters in the way that it should.

Soul isn't Pixar's finest or most resonant film, but its beautiful animation and soundtrack, paired with fun characters make for an enjoyable watch.

As strong as the movie can be when committed to the specificity of its characters and setting, it asks too many of the big, unanswerable questions at the heart of the human condition, and the further You Won't Be Alone reaches for the universal, the more chafing its grip on the viewer becomes.

While The Northman has a lot to offer and is quite beautiful and masterful in its execution, there is something missing. The film begins to meander a bit in the middle before getting back on track and the lack of additional character development — anything that would have given the film more depth — prevents The Northman from reaching its full potential.

Mass may not be an enjoyable experience, nor will it likely be remembered as a culturally significant film; yet, one leaves the movie with the overwhelming feeling that it is important viewing.

There is nothing flashy about Davies' style and the found footage doesn’t feel obtuse; it feels imminent. The film sets out to execute a plan and does so without missing a beat. It is rare to extract so much emotion from a mostly technical achievement, but Benediction does just that.

Despite its pitfalls, Wake Up Dead Man is still enjoyable. It has its charming moments, there’s a lot to think about in terms of the story, and the cast is good, if not great, overall. It’s just hard to watch the movie and realize the mystery and excitement have waned.

While the film isn’t overly ambitious or deep, it’s an energetic, occasionally thoughtful and honest film about the lack of honesty and its effects on relationships.

Strange Darling is an effectively disturbing movie, labeled as an erotic thriller, which visualizes some interesting themes even if it distracts from them.

Linoleum is filled with nostalgia — brought to life by the dreamlike, vivid cinematography by Ed Wu — and the overlapping of memories, the mind losing itself, and the fulfillment of a fantasy that feels incredibly out of reach. Not everything comes together so smoothly or cohesively, but the film is a solid effort nonetheless.

The film's comedy is the cherry on top of a disgusting meal one has to hear to believe.

Nude Tuesday is incredibly entertaining and, though the central premise starts to wane after a while, the story picks back up as it nears its end.

Every life is a universe unto itself, and Ricciardi was clearly the kind of unique soul whose spirit enriched everyone around him, but its actually in the margins of this sometimes preening doc that Benna's film really hits its target. When the film rests, it destigmatizes a process that everyone will eventually go through (albeit in a range of ways).

While A Different Man attempts to be a thought-provoking work some of the time, it’s not as deep or as profound as it aims to be.

It's full of fast-talking tech nerds and morally compromised corporate A-holes, it bites off a bit more than it can chew in telling the story of Research in Motion, but it's still a good time, reminiscent of mid-budget dramedies that have all but disappeared in recent years.

Birth/Rebirth contains wonderful performances from Ireland and Reyes. But Moss’s directorial debut needs quite a bit more than stunning performances to leave a lasting impression.

There’s no denying this is a film capable of winning audiences of all types with its inherent charm, humor, and nostalgia. For me, however, this was 91 minutes of unfocused, chaotic energy that I did not enjoy. Tonally, the movie is all over the place, while its themes are explored with timid execution.

With such a slow and empty buildup, After Yang often feels as disconnected as most everyone is in the film.

The movie shows both the best and worst parts of Trachtenberg making two separate Predator movies simultaneously.

Jenkin doesn't leave the audience without any puzzle pieces; there are enough for multiple stories to be constructed, should the viewer wish to understand Enys Men on that level. At a certain point, however, it becomes so difficult to disentangle the real from the unreal that to try feels pointless, and the last act suffers for it.

Shuffle is a solid primer for a massive subject, and Flaherty's approach is a maddening introduction to a world that needs massive reform.

It's a film that sneaks up on its audience, revealing layers to friendship and other intimate relationships that otherwise would not be parsed through if there wasn't the time.

What A Love Song lacks in execution it more than makes up for in stellar performances and beautifully directed scenes.

The most interesting and beautiful piece to this puzzle is the fact that Dillane's performance can steer the audience in any direction emotionally and at any given moment.

Part revisionist history, part unconventional character study, Corsage is carried by Vicky Krieps' brilliant performance and its willingness to buck genre conventions in favor of a dark and dreamy fairy tale.

Slow and frustrating, with a finale that is unearned, Red Rocket fluctuates between trying to say something and getting lost in its own premise.

Islands feels less like a destination than a prolonged pause. It’s watchable, occasionally absorbing, but rarely urgent. It’s hard to shake off the feeling that Gerster introduces narrative ideas he has little interest in fully developing.

Something in The Dirt is a wild ride that will take one to the limits of reality and test one's patience.

Ultimately, Cassandro is a touching tale of a remarkable person who paved the path for others to find liberation and acceptance through their chosen art.

It's a riveting film, but one that left me feeling hollow and ultimately frustrated with the continued way in which much of American cinema tackles crises like the one at the center of September 5.

Bolstered by a solid performance by Will Smith, King Richard is a feel-good, charming sports biopic that uplifts but never reaches its full potential.

For those who may not have seen X, Pearl may be intriguing enough for them to go watch the original film. As both a prequel and standalone horror film, however, Pearl comes up short.

Notturno is sometimes beautiful and Rosi makes good use of private spaces. But, the film comes off as an exploitation of the region and its people’s pain.

The movie tells a tight, contained story, but spends a little too much time sharpening its emotional knives to craft a truly compelling supernatural story. Bring Her Back gets lost in the weeds of its desire to rip your heart out.

The narrative of Monica is scant, but this makes way for a poignant examination of trans identity and loneliness through the lens of one family.

I do not regret having seen it, and with all there is to recommend it, I feel comfortable suggesting you seek it out upon release. But do so with tempered expectations.

When its focus is on Agatha Rousselle’s Alexia and the lack of control she has over her own body, Titane digs a bit deeper. However, the film’s true weakness is in its inability to explore Alexia as a person, keeping things vague while centering the extreme body horror aspects.

For all its stylized flourishes and raw performances, True History of the Kelly Gang's confused narrative prevents it from fully taking off.

Bolstered by a headstrong performance from Ramsey (who is best known as Lyanna Mormont from Game of Thrones), alongside a fantastic supporting cast, Catherine Called Birdy will be best enjoyed by a younger audience, though it’s still fun enough for viewers of all ages.

Ambitious, occasionally thrilling, and visually striking, Dune is mostly set up, building out a heartless world that never truly feels complete.

Armageddon Time excels at capturing naiveté but under-commits to sharing the truths of racial disparity when it comes to the American dream.

While showing good potential overall, Kendrick’s directorial debut is hindered by tonal imbalances and poor editing.

As a celebration of love and music, Sylvie's Love is a comforting and sweet movie that, while not breaking ground, is noteworthy in its earnestness.

While Andrew Garfield gives a driven and kinetic performance as Larson, Tick, Tick… Boom! is messy, missing a distinct spark and emotional depth.

Just in time for the holidays, writers Morgan Evans (Teen Titans Go!) and Jase Ricci have found the perfect balance of heart and hilarity in this cartoon caper.

A harrowing narrative that contemplates the transition from girlhood to womanhood, Arnold uses magical realism to capture preteen angst with a strong desire for existential freedom.

The Tale Of King Crab doesn’t keep one's attention at first, but if the audience can make it past the period piece there is a thought-provoking western on the other end.

The World to Come has the ingredients to build a blossoming love story, but the script is thin and far too rigid for the romance to ever fully soar.

Filled with passion and a performance from Anaïs Demoustier that is equal parts energetic and blisteringly self-aware, Anaïs in Love is hilarious and romantic even if its resolution ultimately falters.

With its brisk runtime, the film wastes no time and, though it plays into genre tropes often, its premise is enough to make this film a compelling watch. The film ends up being surprisingly emotional thanks to its protagonist, though its lack of characterization of its human counterparts hurts the film's climax just a bit.

The Inspection has a few poignant moments, but its lack of introspection, well-developed character dynamics, and exploration of the systems in place keep the film from reaching its full potential.

If you’re looking for an overall fun time at the movies, One of Them Days delivers.

When Ma focuses on the grounded journey of Sara's fish-out-of-water story and the genuine chemistry between her and Sam, the film sings.

The documentary doesn't know who Jeff Buckley was. However, it might expose what we are desperate to get from him, long past the time he has anything left to give.

While it does succeed in creating a bizarre atmosphere that captures plenty of simmering tension, it's trapped between being a proof-of-concept short film and a feature-length effort.

It’s meant to shock and disgust — and it does — but while Infinity Pool starts off interestingly enough, its take on power, corruption, and privilege only goes so far.

With a powerful central performance and an occasionally chaotic but nonetheless captivating and moving narrative — helped along by fantastic editing and cinematography — The Outrun is a detailed film strengthened by its connection to nature’s beauty and belonging to it.

What I connected to wins out over what I didn't – I have enjoyed sitting with its ideas, and there are a couple flourishes that will stick with me.

Cummings and McCabe don’t quite balance the purple envelope mystery with the character study of a self-involved man, and the ending takes a sharp left towards confusion, but it is surely something worth watching.

Thought-provoking, beautifully edited and told, Sirens explores the band members’ relationship with each other, gender, and conformity in a society that isn’t always open about such things.

Sam somewhat shrinks into the periphery of the story to make way for Amanda Peet's Dianne, whose tonal world is welcome, but certainly different. Rather than hold things together, Shear the filmmaker seems to step back, too. The result is a film that only exists in moments: sometimes funny, sometimes interesting, always lacking the cohesion necessary to add up to anything.

As hypnotic as Eileen is, the film ultimately falls short. Its final moments suggest that it could have become a completely different film than what was initially presented. Had there been enough time to flesh out the story and build up the tension, the final Rebecca twist would have worked a lot better.

It's to the actors' credit that it works when it does, and what it ultimately posits about marriage is as grossly haunting as it is disturbingly poetic.

It grows tedious because it feels like we’re holding our breath waiting for something more significant to happen for the lead’s character development, and yet it remains largely stagnant. Exit 8 has so much squandered potential. It might have made for a better short film than a full feature, but as a psychological horror, the film falls flat.

A Quiet Place Part II feels hollow where it could have brilliantly captured the nuances of the characters and their journey. The sequel provides some new information, but doesn’t do the work to deepen the story.

The Outpost finds success in its thrilling, white-knuckling battle sequence, but rarely digs below the surface of the ones who fought in it.

Dan Trachtenberg's third Predator entry is exciting, but also tonally askew in ways that prevent it from hitting its stride.

Ultimately, Watchmen: Chapter 1 is a relatively promising start to this two-part adaptation of Moore's graphic novels, though it's brought down by familiarity, failure to surpass its prior adaptations, and a somewhat rushed pace.

While Blitz may not be transformative, it isn’t all bad. McQueen is a capable director who deftly moves between different points in time, offering a glimpse into Rita and George’s life before and during the war.

The Spanish director's fingerprint is there, undoubtedly. But the movie feels strangely incomplete, as if made with one hand tied behind his back.

Ultimately, Michel Franco’s Sundown feels hollow and too nihilistic for its own good.

Nuanced yet ambiguous, and imbued with raw emotion and care, Campbell-Hughes crafts a worthwhile story that digs into the aftermath of a near-death experience.

I walked away from the film feeling distant from Bob Dylan. That seems to be by design but it’s no less frustrating from a storytelling point of view.

Many times, the movie felt like a tonal jumble, even though both the heartbreak and the antics certainly serve the inspirational animal story genre.

Gradually, everything becomes burdened with story. The more the triangle of Kathy, Benny, and Johnny is played up for drama, the less interesting it becomes.

The film would've been better served had it stuck to either satire or tense drama, but whatever the case, the climax of Saleh's film is aces and as taut as can be.

The ending feels way too cookie-cutter perfect. Scrambled is a worthwhile experience, though, as it is a personal tale that aims to empower through laughter.

Krieps has such a clear vision of who Vivienne is when she isn’t the object of romance, violence or intolerance. Her quirks and quiet dominance ultimately shift the film toward the direction Mortensen thought he was headed.

The best parts of Mother of Flies are in the margins. At its most lucid, it tells us that life, death and healing are magic — both of the Western and witchy varieties.

The filmmaking is very strong, but it's Copley’s performance that sells it.

Although Murder lacks some of Hitchcock's signature guile, it's still a fun mystery with one or two flashes of visual brilliance.

For all The Phoenician Scheme's eccentric thrills, sardonic performances, and globe-trotting adventure, the film still feels limited in the grand scheme of things.

While it doesn't quite reach the horrific highs of the 2013 remake, it rips through other splatter-fests with the finesse of a freshly whetted chainsaw blade.

It’s a deeply symbolic and, at times, flawed film, but Tuesday is filled with love, heartache, and pain.

Though the story treads familiar territory and doesn't present a remarkable discovery about human nature, that doesn't leave us any less affected by the journey.

Blue Story can be messy in stretches, but it's undeniably passionate and carried by its simple, yet effective, and sometimes lyrical storytelling.

While the indecision of the plot reflects the hapless existential angst of Hana’s mid-life crisis, Luxor moves further away from meaningful rumination as the film progresses, and ends not with a bang, but a whimper.

Birdeater didn't have to be a blood-soaked revenge movie to be more effective, but it took too few risks to be truly thought-provoking.

The circumstances around Audrey and Eli's union (Moon Choi and Son Suk-ku, respectively) is tender, yet forceful, beautiful, yet pained; but the film is otherwise formless, uninspiring and moves like molasses.

With the exceptional performances from the cast and several laugh-out-loud moments, this creative film is wildly entertaining.

Ultimately, Huda's Salon is a case of an exciting concept that can't maintain its own momentum.

Thompson and Greer really are extraordinary, however, and their tête-à-tête nearly saves Kirk's enterprise from the doldrums.

There's a lot to like in this engaging and unnerving drama, but the finale doesn’t come together to deliver on an intriguing and chilling first half.