The film is melancholic and contemplative in a way that isn’t always the case with romance genre films.

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.

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.

For those willing to dig deep, there is a lot to be gained from Sasquatch Sunset about what it means to be alive, our connection to nature, and the enduring power of family and resilience.

While it might've been nice for Mafia Mamma to reveal more details about Kristin's ascension as a mob boss, its humor and Collette's performance make it a solid ride anyway.

Though competently shot, the storytelling and performances leave much to be desired.

The convergence of the story of a bereaved mother with a cult-like presence in the new country she calls home does not blend as effortlessly as one would like. The third act proves it cannot. Despite this, however, The Twin makes for a fairly constructive horror that is worth a watch.

While the film tends to get repetitive and its comedy doesn’t delve any deeper than it has to, Some Like It Rare is entertaining and darkly funny.

Parthenope is sensual and visually exquisite. It might not dig way too deep into its message, but it does get it across by the end.

It's not particularly memorable or an all-time great action story, but it's decent, and the quality is there. Off the Grid is an overall satisfying action movie as long as you're willing to look past the bare-bones plot.

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.

The animation is still strong and the character beats are affecting, but the villain and his motivations stand in the film's way of true greatness.

It's fun, and there's nothing inherently wrong with it, but I found myself distracted, turning away from the screen several times because I knew I wasn't missing much. Something Beautiful will come and go, and for most, it won't make much of an impact.

Lamb is a slow-burn suspenseful horror that eschews the genre's typical gore and jump scares, and instead frightens audiences with a nuanced portrait of grief, punctuated by the unshakable feeling that something is terribly wrong.

There's plenty to admire in Maria, and in Jolie's performance, but my connection to certain scenes shouldn't be mistaken for my being emotionally engrossed. In fact, I typically felt kept at a distance.

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.

A Banquet is a beautifully made psychological thriller with nuanced performances and a gross hook.

This is merely an example of misalignment when it comes to direction and script. Because while Kane’s vision is mostly clear, the execution of this particular script stumbles.

Conventional choices are thrown out the window and the audience is left with a delightful adventure worth revisiting time and time again.

Daniel Craig’s fifth and final outing as Bond is replete with fantastic action sequences and an emotional center despite the final act being shaky.

Ultimately, The Laureate pushes past the tone and format of a typical biopic to make something fresh, though it holds weak spots in an otherwise compelling story.

It sits somewhere at the intersection of Quentin Tarantino and Sam Raimi, though without the former's control of form and the latter's splatstick comedic timing, it can't quite live up to the potential of that mashup. Still, it's plenty of fun. Zazie Beetz is the ideal badass heroine to carry this movie, and there are more than enough moments of stylish violence (and violent style) to get the whole theater cackling.

With a single set repurposed multiple times, Share? makes the most out of a little — metaphorically and literally.

The Tomorrow War is a fun entry into the sci-fi/time travel genre, though the pieces never add up to something all that memorable.

Ultimately, Jay Kelly is a very moving, sentimental film that succeeds effortlessly at telling a great story, but whose attempts to go thematically deeper often feel repetitive.

Munich: The Edge of War is a well-made period piece able to stage necessary tension despite its real-life story being so well-known.

The Gutter is ultimately an enjoyable throwback to the broad-skewing sports comedies of the '90s.

The Life List doesn't offer too many surprises or dwell in any unpleasantness for too long, making for a simple and relaxing viewing experience that hits right in the heart.