Petsch and Scipio are both extremely attractive and breezy performers, but, the film is as sputtery as an old car on the fritz, failing to update its cinematic lineage in any conceivably positive way.

Through the amazing array of talking heads Hanks assembles to share their relationship to Candy, we are left with the distinct impression that there just wasn't anyone else like John. A grand man indeed, in a grand documentary to suit him.

This is classic B-movie creature-feature stuff.

From the opening scenes, The Woman in Cabin 10 hooks us and doesn’t let go.

If you think you know Ozzy Osbourne, you won't get the complete picture without watching this essential portrait of the rock n' roll god.

The movie possesses reams of intriguing ideas, but instead reheats much of Legacy's plot and then busies itself with semi-incomprehensible set pieces.

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.