Confess, Fletch isn't a ringing endorsement of rebooting projects from the 80s; instead, it is an excellent showcase of Jon Hamm's comedic chops, a well-known skill that has been primarily misused until now.

The setting and the drama of Bonjour Tristesse complement each other, but the finale is incongruous when the premise and the presentation seem to be on different terms. While the movie has a rich personality, it is moderately aimless and should have better established how it wanted to be different from the original.

There are certainly lulls throughout, and the story needed some tightening. But what it lacks is more than made up with a great cast, distressing moments, and some well-shot action.

Warwick Thornton’s feature tests faith and humanity in a way that will leave a lasting impression. It’s the kind of film that requires no stance from us, yet is fully capable of opening hearts and minds from a place of empathy and understanding.

The Queen of My Dreams depicts complicated love amid familial conflicts and an adoration of classic Bollywood cinema.

Pizza Movie is a refreshing delight. The simply titled Hulu comedy knows who its audience is, and it delivers plenty of gross-out gags for them to laugh at. But it also takes its genre's formula and infuses it with a real shot of originality that gives even non-stoner-comedy fans plenty to sink their teeth into.

Elvis seems perfectly content being a glitzy, bejeweled extravaganza, even when the film’s nearly three-hour runtime leaves its energy — which never fully recovers after the first half — waning by the end.

It's a bold swing from the director and, despite it being tonally uneven and a bit messy, Napoleon can be still quite fun.

From a bizarre villain to unexpected musical numbers, Barb and Star Go to Vista Del Mar is egregiously bad, but with splashes of occasional humor.

The problem is one of focus, and had the movie trusted its protagonist enough to let her be the true center, it might have provided a viewing experience worth recommending.

Vivarium is a wonderfully strange and gripping thriller that examines the stresses of homeownership and starting a family, perhaps all-too-soon.

Underneath its weaker spots, Turtles All the Way Down is bolstered by genuine heart and an excellent central performance from Isabela Merced (Madame Web, Instant Family).

Punctuated by heart-aching moments, Stalter’s performance puts her comic star power on full display, reiterating the actor’s excellent comedic timing.

Guardians of the Galaxy Vol. 3 mixes Gunn's usual wacky action and laugh-out-loud humor with a grounded, emotional story to create something special.

ALL YOU NEED IS KILL is not a film that'll have you scratching your head for meaning. It wears its empathy and its plea for life on its sleeve like a badge of honor. Admirable though that is, that directness does translate into threadbare writing.

It's something of a disappointment that the film, as a whole, fails to live up to Byrne's great work in it. But it's certainly not a bad film.

The Beach House has some suitably creepy moments, but it's ultimately hamstrung by an underdeveloped script that fails to connect with the audience.

Despite its fair amount of positives, All Together Now feels both too safe and too distant when it comes to its grittier subject matter.

Its entertaining approach to the history it portrays works to make the movie memorable, resulting in a must-see biopic that's perfect for those who want to learn about women's wrestling history.

While the film has an excellent concept, its overuse of traumatic medical conditions, disorders, botched surgeries, and motherhood makes for a confusing plot that has too many moving parts to retain a cohesive story.

If there is any justice, Door Mouse will garner the attention it deserves for being a well-defined narrative brought to life effectively and efficiently by a talented director whose imagination and creative drive become more evident with each scene.

The movie starts off quickly and provides an in-your-face introduction to the film's intended direction. However, the momentum quickly fizzles out, and the plot begins to meander towards the finish line, taking several unnecessary detours along the way.

Though this film is filled with mystery and murder, what makes it stand out is that it is the first Thin Man film to explore Nick's background. While the previous films typically connected to Nora and her parentage, this is the first that sees where Nick Charles came from.

Gladiator II really soars when it does the unexpected and, for the most part, that only happens when Washington, Quinn, and Hechinger are onscreen. It doesn't make for a well-rounded film, but it does make for an entertaining one. For all its faults (of which there are only a few), Scott is still fully in control of this massive undertaking, letting his contemporary sensibilities bleed into the gravity of the past.

Instead of being the next John Wick, Nobody plays out more as John Wick lite, which could be disappointing for some. It's fun to see Odenkirk try something new at this stage in his career, and Nobody clearly knows what it is and never takes itself too seriously (see: the moments of levity, the soundtrack full of licensed classics). Still, these merits don't truly help elevate the final product beyond fleeting entertainment.

Yorgos Lanthimos’ Kinds of Kindness is a melting pot of anthology narratives that callously spotlight our desperation for affection and acceptance.

The material is not lacking in thematic depth, but how the filmmakers choose to express these themes makes for an inconsistently engaging experience. Dreamin' Wild is sometimes too caught up in its own artfulness, and all that weighted form ends up trapping its ideas rather than giving them heft.

A piercing, explicit, and oftentimes sexy study of one 25-year-old's search for identity in a world that has discouraged him from accepting all of himself unabashedly.