Bigelow's film, disconnected as it is from the very people this type of situation would actually harm, is a futile salute towards hope, which unfairly assumes powerful people's positive intentions, underscored here by largely cookie-cutter characters and a lack of complexity.

It is the type of film that asks for a deeper engagement than it is willing to offer, but Hadžihalilović may just be pulling us into her conception of image-making as a process of self-actualization. If that is the case, the film does well to break from Andersen's tragic tale for something a bit more existential.

With good pacing, writing, and a stellar cast, Barker has crafted a directorial horror debut that is deliciously dark, absurd, and eerie.

Thompson and Greer really are extraordinary, however, and their tête-à-tête nearly saves Kirk's enterprise from the doldrums.

There’s an emotional resonance that permeates the film and fills your heart with an ache so strong that it’s difficult to walk away without being affected.

Ultimately, it is a gorgeous film that's empty inside despite all of its interesting ideas and good intentions.

Xeno doesn't make any gross missteps, but it doesn't have the juice to stand the test of time.

Fuze may not reinvent the wheel, but sometimes all you need is a solid thriller with a hot cast to really give a film the oomph it needs.

What the film does exceedingly well is make us see the inherent irony of moderating online violence to the exclusion of the real-life violence in front of our faces.

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.

I can't deny Krawchuk has absolutely improved on some of his missteps from the first film, but in his apparent effort to pull from the success of Terrifier 2, he learned the wrong lessons regarding mythology pacing and crafting a compelling final girl, making this slasher sequel another learning experience rather than a celebration.

Something only Aztec Batman: Clash of Empires could do is explore the important role that gods play in the story. Yohualli Coatl is the chosen figure of the Aztec bat god Tzinacan. The inclusion of the gods and that mystic origin of the Dark Knight make this story distinct, mysterious, and a treat to slowly unravel.

Unlike the comedy, Ungar does know how to shoot action decently well, and it's in those scenes when the film momentarily comes alive.

That the film is so admirably sex-positive, especially as it is from the too-often silenced perspective of female pleasure, makes it all the more refreshing.

Tipping and his co-writers have a lot of great ideas and thought-provoking commentary about the way we treat athletes, but the lead-up to an admittedly explosive conclusion doesn’t land. Wayans and the score seem to be doing most of the tension-building. It’s a shame the rest of the film couldn’t rise to the same level.

Driver's Ed hardly reinvents the wheel when it comes to the YA world, and it's far from perfect. Still, with its string of solid laughs and a very game cast, it makes for an entertaining adventure that goes down easy.

A battle cry of uncompromising political ideals, One Battle After Another is amongst Paul Thomas Anderson's most forceful work.

A rousing story about finding someone and falling in love this is not — nor does it truly contend with the need for human connection very well.

Tuner is a small film, but one that will leave a big impact. It truly is one of the most delightful surprises of the fall and deserves to be seen on a big screen with the loudest sound possible. Here's hoping it gets that chance.

Messy, strange, and somewhat baffling, Gavras’ film is chaos personified. For this sometimes funny film, I wish that were a good thing.

Poetic License has a classic sort of feel that makes it a very enjoyable watch. It keeps a good pace, mixes the heart with the hilarious, and spotlights an incredible collection of performers.

With an exceptional performance from Ahmed and style meets substance storytelling, Hamlet is a journey worth taking.

Filled with heartfelt moments and hardships amidst Grace’s growing young adulthood pains, Levack’s film plays like a new music album that is familiar yet exciting.

What makes Carolina Caroline so magical is the way it transcends its clichés to tell an engrossing story.

It's the kind of eccentric true story that seems tailor-made for a movie, and McAvoy brings it to life with plenty of high-spirited energy.

The Christophers trusts its two leads and their characters to guide the audience to its desired conclusion, and watching it unfurl is a rewarding experience.

With an aching heart, lush visuals, and magnetic acting, Hamnet is undoubtedly one of the best movies of the year and will continue to resonate with audiences for years to come.

The biggest selling point is Squibb. With a mischievous twinkle in her eye, she shoots off wisecracks and plenty of grandmotherly affection, and you almost wish you could be friends with Eleanor too.