Deadwyler is simply a revelation in the role, her alternately fragile, fiery, and steely performance carrying "Till" through some of its biggest lulls.

Dedicating yourself to revenge is an act of self-punishment that closes you off from a happier life. I admire the sentiment but a messy story that sometimes loses sight of Scarlet herself means it has limited resonance.

One can't help but wonder how both "The Nun" movies might've played out as original scripts without any shackles to pre-established lore ... but, at the same time, one would have to assume that neither film would even exist without those connections in the first place.

It all ends up being a touch forgettable by the time the end credits roll, but the journey to get there is never dull.

Though Chuck Chuck Baby treads familiar plot beats and offers little surprise, it's something of a feat to turn such familiar British film territory into something prominently LGBT+. Its innate understanding of queerness and female bonds allows the lesbian relationship to never feel like window dressing.

Stargirl is a slight, but cute teen dramedy.

Nostalgia is fine in limited doses, but the sequel ends up feeling like J.J. Abrams directed "Now That's What I Call Ghostbusters," undoing any of the goodwill established by the film's first two acts. The movie is trapped in the past so much that it might taint any potential future there might be to keep the franchise alive with these new characters.

The Good Nurse is strangely flat.

Madame Web does not provide a crowd-pleasing bombast. This is a pity, as this odd duck makes for a fascinating watch. This may be one of the final films of the superhero renaissance. Enjoy it before it topples over entirely. 

Just Mercy ends up being a fairly bland crowd pleaser that doesn’t pick up the momentum it should until the final act.

Considering the majority of modern mainstream fare, we can look at "Bullet Train" as a mild win, a presumably high-budgeted action film that boasts no superheroes, no extended universes, nothing like that. But though this film clears that low bar, Bullet Train is only ever mildly fun, while reminding you of movies that are often a whole lot better.

There are snapshots of something greater here; hints of a grander mystery, a bigger twist, a better climax. Alas, we can only ponder, weak and weary, over what that better film could have been.

The Shadow Strays feels more like a step back than a step forward. By the time the mid-credit coda arrived, I wanted less, not more. Still, those craving copious amounts of carnage will find plenty to dig here.

The best that can be said about everything surrounding Powell and Sweeney in Anyone But You is that they mostly have the good sense to move the plot quickly and then let the stars sparkle.

Good Boy may not exactly reinvent the haunted house subgenre, but it proves you can still teach an old dog new tricks.

The Whale" stays too intellectual in its exploration of the physical and spiritual dimensions of redemption to and from bodily captivity. This comes at the expense of the director's strengths in the visceral realm. It restricts what could have been a truly great comeback performance from Brendan Fraser into being merely a good one.

In fact, “very dumb and very enchanting” could sum up Zack Snyder’s Justice League as a whole. There was never a single moment where I bought the story Snyder was selling, but I did enjoy his attempt to create a superhero movie that rises above the din.

The film tastes like the cinematic equivalent of Clooney's tequila brand Casamigos. That is to say, The Boys in the Boat goes down smoothly, if somewhat unremarkably.

This is a frequently charming documentary, but it sprints through Henson's life like we're speed-reading his Wikipedia page. I wanted more.

As unnecessarily intricate and eyebrow-raising as the story might be, "Spin Me Round" at least feels original — it's never boring, and what unfolds is admirably entertaining enough that it's hard to downright dislike. But not unlike the Italian "cuisine" of Tuscan Grove, it still leaves something to be desired.  Read More: https://www.slashfilm.com/796873/spin-me-round-review-alison-brie-gets-embroiled-in-a-meandering-but-entertaining-comedic-thriller-sxsw/?utm_campaign=clip

When the film quite literally runs out of plot, only the filmmaker's sheer determination and commitment to the bit manage to salvage an ending that throws logic and reason out the door several times over.

There’s something here, beneath the glassy-eyed performances and the Instagram aesthetics, about class and privilege and the evils of men — and you could even make a case for False Positive being yet another effective display of gaslighting as horror — but any actual messages are too vague to parse.

Minions: The Rise of Gru will not usher in a new era of animation, nor change the way we treat prequels. What it will do is entertain kids with more Minions shenanigans, a fair number of fart jokes, and references to other characters in the franchise.

where Shaun the Sheep Movie felt comedically risky and goofy and brilliant, Farmageddon is a bit dated on arrival, making the kinds of jokes that would have felt a bit old hat a decade ago, let alone now. It’s a good thing this movie exists, even if it’s not quite up to snuff.

What Mulan does suffer from is the absence of the levity that the musical elements would have brought. Mulan is serious verging on dour, so bent on presenting itself as a serious war drama that its rare moments of comedy feel almost awkwardly slotted in.

The brothers tend not to dally much with their narratives, but even adjusting for their typical brevity, Young Ahmed feels like a cursory examination of the social issues they raise. It lacks the incisiveness of their other glances directly into the heart of Belgian society.

I don't know if I'd call this a memorable take on Dracula, but as a simple little monster movie with plenty of atmospherre, it does the trick.

The Midnight Sky is ambitious in its attempts at pathos. There’s the germ of something beautiful buried in here; a story trying to tell us that every last life is worth saving even if all seems lost. That’s something worth hearing, but The Midnight Sky fails to even get the conversation going.