Drunk Bus straps you in for a semi-wild, uplifting ride out of somber darkness and into speedy reclamation.

It's all just too much for any of us to live up to, and yet for Riley, it's all she's ever known. Watching her find the balance is riveting, and a testament to both D.W. Waterson's directorial eye and Devery Jacobs' immense talent.

The documentary makes an effort to drive home just how much harm illegal abortions cause — but in terms of the presentation, more could have been done to highlight the horrific and tragic nature of the real history.

It's a nifty, quick-witted slasher pic, and at this point in this particular franchise, that's more than enough.

This visually and metaphorically commanding film, crafted with precision by Jenkin, urges viewers to look for its answers deep within itself instead of simply giving them away.

The blood is good. The traps are good. The series' nastiness is intact, even as it all looks a bit bigger and a bit slicker. The important thing is that "Saw X" continues to be unafraid of its own continuity, so infatuated with its own delightful bulls***.

Even with a runtime twice as long as the typical "Monk" episode, "Mr. Monk's Last Case" has the same breezy pacing — mostly.

Whatever the flaws in Lee's remake design, Highest 2 Lowest rises above its issues thanks to the filmmaker's inherent skill and Washington's unbeatable charisma.

Cassandro is a solid drama that provides another strong showcase for Gael García Bernal's many talents, and marks a largely successful transition into scripted storytelling for Roger Ross Williams.

Elvis is the Baz Luhrmanniest film Baz Luhrmann has made yet, a compilation of his greatest filmmaking hits, all employed for a film as excessive and grandiose as Elvis himself. Though the framing device doesn't always work, Austin Butler's stunning performance, lavish production design, and comic book-like editing make for a movie not unlike one of Elvis' own — full of personality, kind of empty, but undeniably enjoyable.

The beauty of the "V/H/S" series is that it continues to showcase the infinite flexibility of found footage horror, giving thrilling collections of genre filmmakers a chance to strut their stuff and test the boundaries. And with "V/H/S 85," everyone means business.

The script doesn’t add anything new to the sports movie formula – you can see every major plot development coming from the stratosphere – but Lyn’s execution of those ideas powers the movie through its predictable plotting.

Rodeo is a daring and impressive debut feature that accomplishes something wonderful about movies: it explores a world that few know with a bracing intimacy and genuine respect for the subject. While it typically succeeds, it's thin plot and weak characters outside of Julia, as well as a reliance on repetition, prevent the film from being truly brilliant.

Gladiator II gets the job done. It doesn't reinvent the wheel, and it doesn't have to. I don't for one second think Scott is setting out here trying to make an absolute masterpiece; he's content to simply make a damn entertaining action pic with an pulpy old school sensibility. Third act machinations aside, Gladiator II ends up being rather simple in its construction, and perhaps that's ultimately its greatest strength.

Without the pandemic, everything here would seem a tad fantastical. Now, we can't help but draw sometimes painful connections. Perhaps it'll hit too close to home. After all, the film makes it clear that there's only so long a person can remain trapped before they start getting desperate.

As intended, "Section 31" is the Michelle Yeoh show, and she wears Georgiou like a spiky, vampy, blood-soaked glove at this point. Either you enjoy watching Yeoh strut and kick and smirk through action scenes, or you have no taste.

Greenland 2 still feels like a silly disaster pic at times. But it's a cut above the rest, mostly because it's less interested in grand spectacle and more focused on everyday people just trying to make it through another damn day. We can all relate to that.

The Apprentice is a good movie, albeit a difficult one to watch, with stellar performances elevating the proceedings.

Despite some storytelling stumbles, Standing Up, Falling Down manages to stay upright thanks to knockout performances from Schwartz and Crystal.

Provides a spoonful of laugh-out-loud moments of sugar from David Harbour to help make the medicine go down. It's a self-aware, serious, action-comedy that never sacrifices story to make its point, and never talks down to the audience even if it has to be a bit more obvious for four-quadrant viewers.

Some might wish the filmmaker had avoided current politics at all, but the "Knives Out" films are very much a reflection of our modern times, and Johnson clearly has an uncomfortable but important message he's trying to preach: faith and belief are good things ... until someone starts using them the wrong way.

Saying We Are Little Zombies is “a bit hectic” is a bit of an understatement, and yet, as Nagahisa’s passion project exploded across the screen, I found myself giving my heart to it.

Laal Singh Chaddha is hardly a Terrence Malick-like contemplation of pacifist philosophy — it's ultimately a broad, sentimentalist opera designed to have audiences reaching for their handkerchiefs — but it does have a more complex and gentle point of view than the film it's remaking. Despite how corny it is, Laal Singh Chaddha it unexpectedly disarming.

It’s all overly theatrical, and not at all concerned with being grounded in reality. And there’s something refreshing about seeing a gangster movie filtered through this sort of lens.

When the plot gets going and we're on a road trip through fantastical locations, the movie becomes a fun ride. It's not as good as the original, but it is still one of the better superhero films of the year.

The point of this documentary is not to dig into Birkin's life and oeuvre, the point is the discovery of a mother.

Totally Killer tries to skirt responsibilities by having you laugh at its self-awareness, which works as much as it doesn't. Kiernan Shipka will be the reason people talk about Totally Killer, even if the film's foundation of paper cards is one strong gust away from collapsing at any second.

The Pez Outlaw ends up being so quick, breezy, and fun, that it ultimately does its job and, unlike the chalky sweet Pez candy, never leaves a bad taste in our mouths.