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.

Companion wants to surprise you, but has no real interest in trying to outsmart you.

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.

It’s a simple story about the power of pure determination and will, and it’s certain to leave you fully captivated from the minute lead actor Jorma Tommila appears onscreen.

As a testament to its strong script, Basir’s latest tackles various themes related to addiction, religion, and even manhood. And in its methodical approach towards addressing mental health, To Live and Die and Live defies and exceeds emotional expectations.

The film has no easy answers for Celestina’s questions, but her journey throughout is all the more powerful because of it.

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.

DaCosta makes some key changes to the ending of this story that slightly undermine its more subversive inclinations, but that doesn't make the film any less effective. Her confident direction and Sean Bobbitt's lush cinematography make Hedda an electrifying adaptation that relishes the chaos as much as its characters, even as blood, bullets, and booze continue to fly.

Brought to life by yet another astounding performance by Olivia Colman and exquisitely shot and designed, Wicker's treasure is in its hopeless romanticism that insists that pure love and adamant individuality can create irrevocable progress through osmosis.

It's not a perfect film, but Emilia Pérez is endlessly captivating, an exercise in genre, tone, and sheer fearlessness.

The film certainly delivers on the action set pieces, but it also scales back to lay the groundwork for the story so that the payoff is well worth it. Monkey Man isn’t some basic action thriller; it’s an underdog story about the power of the people.

If Infested suffers from anything, it's that Vaniček makes its characters and themes too real, and the monsters can't keep up.

Anchored by excellent lead performances from Ed Helms and Patti Harrison, Together Together is a charming crowd-pleaser with a lot of heart.

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.

Led by a great Lesley Manville, Mrs. Harris Goes to Paris is a delightfully wholesome film and the very definition of a "feel good" story.

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.

Weird lives up to its name. It's utterly ridiculous, a satire of biopics in the best way. It exaggerates anything and everything that happens (and doesn't happen) in Yankovic's life to the point of being so over-the-top one can't help but laugh at its absurdity.

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

From beginning to end, Hellbender is an impressive, at times shocking, and enthralling triumph.

What The Old Guard lacks in well-paced, tightly plotted story, it more than makes up for with compelling characters and slick, thrilling fight scenes.

Blichfeldt pulls out all the stops for this film, giving us a cinematic experience that is ripe with depth and concise commentary, all wrapped in a grisly fairy tale world that is as immersive as it is intense

In the end, Standing Up, Falling Down is all the better because of Schwartz and Crystal. Their comedic delivery is effortless and their personalities beautifully mesh together. Even as the story becomes more somber, they dive into dramatic elements with ease, turning this story's familiar plot into an interesting meditation on regret and the way it takes its toll.

Song has a particular knack for telling stories that break down the walls around our hearts and leave us aching in the best way possible.