In the end, Waltzing with Brando will leave you with more questions about the man than you probably had going into it, which would be interesting enough if Fishman leaned harder into the murky waters of this particular celebrity's mythology. But, like the land upon which Judge tries to build an island escape, the film is in a constant state of drowning under its own ambition.

Parallel Tales is exactly as advertised: The central story interweaves the lives of six people in ways that should be a recipe for delicious, chaotic drama. Yet, Farhadi's latest is bogged down by its repetitiveness and refusal to offer anything new to a story about imagination and voyeurism. What we’re left with hangs a little too long onto a thin rope of painful repetition, false hope, and jaded screenwriting.

Heretical or not, it's a captivating story, even when it seems predicated solely on vibes. It's a shame, then, that the film is not as accessible as Jupe is as an actor. The first two acts move like molasses, brimming with allegory that never quite translates off the page.

It hits the familiar beats that many find comforting, it has an undeniably adoring dog front and center for much of its runtime, and has a well-meaning enough outcome to its plot. But for those looking for something that doesn't quite literally skate the surface of its premise and characters, this is definitely not the film for you.

Between its concise action and Crowe's scenery-chewing, Unhinged makes for an amusingly trashy B-movie, even if its social commentary never congeals.

While Code 8: Part II manages to outdo the original movie in its sci-fi elements, that is not the only improvement that can be seen in the sequel.

There are good bones here, but there's just not enough meat on them to make it a satisfying horror movie.

Written and directed by Mike Cahill, Bliss has strong ideas about economic inequality and it ambitiously works to pull off being a sci-fi thriller that is layered with social commentary. However, the film falls short of delivering something more compelling and complex, primarily because it's trying to do too much at once.

It isn’t sincere or as inspiring as it believes itself to be, but it also understands what its aims are, and that self-awareness is worth noting.

Honeydew feels derivative from start to finish, its arthouse elements lending an aura of inauthenticity to an already-lackluster backwoods nightmare.

Despite sturdy performances, Without Blood doesn’t fully come together.

Packed with great action sequences and a cast that is committed to each other and the script, Gray's latest is creative and fun enough to hold attention.

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.

The 355 is an entertaining if unremarkable spy movie, with predictable story beats and mediocre action that's only somewhat saved by its strong cast.

The drama feels undercooked, and the characters barely escape one-dimensionality.

Despite the movie's obvious problems, it's hard to deny that Emma Roberts and Tom Hopper do their best to make Space Cadet a generally charming ride to watch.

The film’s cast is great and, though the actors typically have great comedic timing, the dialogue falls flat and renders the humor inert. About My Father has a heart at its center, but it never really gets there in terms of having a compelling story and humor to elevate its scenes.

With a premise worth engaging with, the film can’t quite grasp what its full intentions are and the execution reflects that.

Abraham’s Boys wants to drive home a message about violent legacies and the never-ending cycle of generational trauma, but the payoff feels incongruous with the setup, the final kill feels unearned, and the B-movie execution makes it unintentionally funny.

Even while Thorne's performance proves effective enough to keep us attached to her story, the rest of Saint Clare's cast fails to attain the same feat.

Overall, The Boss Baby: Family Business is a fun way for adults to spend some time with their kids, and in that regard, the movie completely succeeds in its purpose.

The film is messy and gets tangled up in its protagonist’s folly, but in the process, Zac Efron delivers a heartfelt and killer performance.

It’s a film so soulless I questioned the point of it.

The Deliverance is bolstered by the cast’s commitment to the story and their characters. Without them, the film's ending wouldn't have been remotely believable.

In some ways, The Exorcist: Believer feels tame when it comes to the full potential of its premise.

Despite a few strong aspects here and there, Inherit the Viper is more or less a fleeting entry into the crime genre that won't stick out in viewers' memory after the credits roll.

The Kissing Booth 2 has some fun moments, especially for fans, but is ultimately an overwrought, overstuffed and overlong teen romcom sequel.

In the end, Escape the Field is tolerable at best. It doesn't shatter any expectations, but it won’t be utterly hated if one decides to give it a go. There are more charming and innovative horror-thrillers about escaping a maze, but Escape the Field tries. For a first feature, it is serviceable for a small-budget venture.