Brick is still a gripping thriller. It's well-made, but there is something lacking overall that could have been made better by diving deeper into the relationships of the central characters.

Ride is an enthralling movie about the lengths a family is willing to go to protect one another, tugging at the heartstrings and leaving an impression long after the credits roll.

It’s less of a straightforward narrative and more of an experimental one. But it’s not so outlandish that it’s inaccessible.

There’s a real thematic depth to each chapter, and the stories are relatable enough to never be boring, but Jarmusch’s insistence on writing three separate narratives about the same concept is a major misstep.

Marshall has captured enough of the magic from the original to entertain longtime fans. Bailey's Ariel is one for the ages, and McCarthy is fantastic as Ursula. With these two ladies on board, The Little Mermaid is a genuine delight.

Between the Russos behind the camera and the talent in front of it, The Gray Man is a fun and exciting action thriller. It may be in the vein of cheesy 80s and 90s action movies, but that makes The Gray Man all the more entertaining and rewatchable.

This film was made to introduce Burnett's classic novel to a new generation, and it's easy to imagine young viewers will be entranced by Mary's story. And, truthfully, some older ones might be as well. That's just the magic of the garden.

She Rides Shotgun packs a punch — or, to use one of Nate's lessons for Polly, hits you like a baseball bat to the back of the head. The subplot with the local gang may be forgettable, but the father-daughter relationship will stick with you for a long time.

Although its shoddy attempts at horror are more immersion-breaking than intended, Strange Harvest is still a monument to how well the true crime genre can be employed for fictional storytelling.

Wheatley is such a strong technician that the film easily rises above its, well, normalcy, to become something much more distinct.

Thanks to Liu as both performer and producer, Rosemead not only earns its place among those films’ superlative ranks, but achieves a surprisingly powerful balance between intimate cultural authenticity and urgent, universal relevance.

For those that persevere, there is an entertaining gangster film at the heart of The Gentlemen. There's a frenetic energy to Ritchie's movie that comes in part from his directing style, and part from the cast's clear enjoyment of bringing the film to life.

The action sequences are fun. Paired with the film’s visual style and horror elements, it fares well enough, though the personal journeys are lacking.

Jennifer Lawrence and Brian Tyree Henry are excellent together. They have great chemistry and their conversations and jabs at each other feel natural.

Awkwardness knows no bounds here, and the kooky comedy has enough steam to carry it all the way through to a lovely ending.

Despite the pedigree of Hanks and Greengrass, this effort doesn't quite get there - but it's still well-made. News of the World is a standard Western with a predictable story, though it's elevated by Hanks and Helena Zengel's performances.

For all its flaws, The Deb is hilarious and entertaining. The music is infectious.

While it never reached the level of success of Dracula, Son of Dracula was still a great late addition to the Universal Horror catalog.

It’s a nuanced role that Banks absolutely nails, capturing Liz’s experience in a way that makes us feel all that she’s going through.

It may not be the most original, but it still proves to be a funny enough endeavor.

Despite its flaws, East of Wall is ultimately an incredibly gripping narrative.

Though it is sometimes a bewildering mess, the film totally works in spite of its more ludicrous intentions, a standing piece of proof that the more specific a piece of work is, the more universal it somehow becomes.

The movie's superhero-laden backbone is meant to support a deeper message. Adam Egypt Mortimer's Archenemy is a painful reminder of how society fails people, and bleeds colorful nuance and thematic messaging in every frame.

Using her face alone, Monroe shifts from morbid curiosity to abject terror and emotional devastation, culminating in a killer final shot that encapsulates what's so unnerving about the movie. Sometimes fear doesn't immediately register — it can be a seed, planted and cultivated over time and, once a full bloom settles in, it's hard to shake the fears that grip you.

Serious People doesn't deal in cynicism. Its quiet ending wraps things up too tidily, but there's a strange sort of optimism to its idiocy that is quite endearing.

Despite this being a film billed as "samurai versus cannibals," it is actually at its best before the fighting begins.

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.

Bring Them Down is 105 minutes worth of violence and misery, but it’s great storytelling, nonetheless.