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.

A beautiful yet simple story about using AI to manage grief, Sheep in the Box hits all the right emotional notes. The script glides through all stages with realism and curiosity in a way that never judges its characters, no matter which side of the AI argument they sit on.

Ice Road: Vengeance is an overall excellent action film, with all the qualities of a Hollywood blockbuster.

Flora and Son is energetic, easygoing, and charming. With a great cast, lovely musical numbers, and a stupendous lead performance by Hewson, Carney doesn’t disappoint.

Daniel Chong's film isn't perfect, but it reaches such a strange fever pitch of hilarity and political prescience that it demands respect.

Going back to basics was the best thing it could have done. With a straightforward narrative and characters we care about who don't overcomplicate the plot, the film crafts something more timeless.

It isn’t just stellar filmmaking, it’s necessary viewing for those of us aching to break the cycle of abuse.

Venom: The Last Dance shows what happens when you let a perfectly cast actor and a director with a lot of affection for the character run wild in a world of Marvel superheroes. You get a movie that's a little weird, a lot silly, and full of fun.

Armed with a truly feminine perspective, Blow the Man Down rises above being a Coen Brothers imitation to deliver a gripping and tightly-woven yarn.

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.