Tringle of Sadness is an utterly hilarious satire told in three acts, each more ludicrous than the last.

Great as our actual dads might be, they simply cannot compete with Costner. The guy perfectly hits all the right notes: honesty, dignity, quiet reserve, rugged Americana – all qualities we want in a hyperbolic father figure. Let Him Go exploits all this and reminds us of one other thing he’s good at: ass-kicking. But Let Him Go isn’t really Costner’s movie. Instead, it belongs to Diane Lane as his wife.

Practically every immaculate shot in Maria is framed as if it were the title character's own theater stage. This makes an apt runway for Angelina Jolie to do her thing and deliver easily her most dialed-in performance of the last decade (or more).

There's a lot of room for cheap, silly schlock here, but Goldhaber and Mazzei actually attempt to take this (sort of) seriously, which results in a far better movie than you might be expecting.

The Rip does give us a handful of scenes where Damon and Affleck's characters bro out, but these are brief flashes of light in a sea of darkness. I'm all for dark and gritty crime dramas, but "The Rip" never feels like much of a movie, more like a pilot for a new, particularly violent "Law & Order" spin-off. Matt Damon and Ben Affleck are movie stars, why hire them for anything less?

For a movie that insists on the value of artistry, it certainly plays like an expensive knock-off. I liked it fine, because I love these characters in this world, but ultimately... that's all.

The final 20 or so minutes of In the Earth are downright impenetrable, and while that’s no doubt the point, it doesn’t make the experience any less frustrating. In a sense, Wheatley has successfully recreated the experience of stumbling around, lost in the woods, unable to see the forest for the trees.

Beau is Afraid is big, and weird, and kind of wonderful. There will be those who simply cannot stand the fraught world Aster has created here, and there will be others who are fully on board with what the filmmaker is dishing out. No matter the reaction, this is a film that begs for conversation and analysis and plenty of pondering. And it's more accessible than you might think, despite all the lunacy.

A Haunting in Venice does try to spice things up, but all the skewed angles in the world can't hide the fact that this mystery is half as eerie as it wants to be, and roughly as entertaining.

The stage is set for all sorts of misadventures, and sure enough, Grant’s film leans into them, heavily, resulting in a film populated by repulsively stupid characters who keep making dumb decisions. The film’s premise has tons of potential, but you won’t find any of that here.

It would've been incredibly simple to give us a traditional "Matrix 4."  Instead, The Matrix Resurrections takes its big-budget and runs wild with it. And while there are more than a few stumbles here, any modern-day blockbuster that's this unafraid to subvert expectations is worth celebrating.

While it does occasionally feel a little too one-note and repetitive, even in its brief runtime, a host of wonderful performances, meticulous set detailings, and expertly claustrophobic cinematography make Peter Von Kant worthwhile.

More than anything else, Thanksgiving is a gnarly, entertaining, and gleefully over-the-top fright fest — one that demands to be enjoyed in rowdy midnight screenings at repertory theaters for years to come.

Anything's Possible perfectly captures the idealized fantasy of teen movies without ever insulting the intelligence of its audience, and finally gives us a feisty, relatable, and lovable trans girl to add to the teen girl movie canon of greats.

Overall, the film is on point with its incredibly smart casting, and that victory aids in fully shaping the world Price Williams and Pinkerton concocted in their zany witch's cauldron.

The film is so laser-focused on Joy there's often no room for anything, or anyone else. But I hope "Call Jane" finds a wide audience, and if the film's somewhat sanitized portrayal of events helps change a few minds in regards to the issues at hand, that will be a net good.

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.

Ruthless, deeply cynical, and thrumming with jet-black humor, Dual is a Riley Stearns movie through and through.

This is one of those movies where the soundtrack is far and wide the best element. 

A painfully slow slog, this horror film from Romola Garai has plenty of good ideas and a few neat creature effects, but that’s not enough to salvage things.

Beetlejuice Beetlejuice is a small film, one that is comparable in size and scope to the original. Its greatest ambitions are to funky and freaky and weird, like it wants to make the filmmakers laugh first and hopefully the audience comes along for the ride.

Hansen-Løve is undoubtedly aided by the soulful performances she draws from her two leading actors. Banerjee, in her first on-screen appearance, both dazzles and delights with an effortless charm. But it's Kolinka, making his third and most substantial collaboration with the director, who leaves the lasting impression.

This is a tight, snappy, simple little thriller that never overstays its welcome and doesn't skimp on the horror, with two strong performances guiding us through all the bloodshed.

This is a movie that sets out on its own dark mission, and accomplishes that mission with a skill that is undeniable.

Alternating between exuberant and exhilarating, heart-warming and horrific, "The Swimmers" is an ambitious picture that tells an almost unbelievable tale of struggle, perseverance, and triumph.

At the end of the day, however, one will walk away satisfied with the characters and moved by a bleak and tragic ending, but left with little to carry in their memory. Ironically, a film about the painful suspicions of the past and the aching nature of memory is largely unmemorable. 

Cats Don't Dance is hilarious and infectious. Dindal was clearly a student of 1930s Warner Bros. cartoons, and wasn't interested in the slick, human figures of a Disney film. He wanted to go off-model, letting the characters squash and stretch with the best of them. 

Fall doesn't break the mold, and there are a wealth of one-location thrillers that are much better than this. But when you're climbing that tower with Becky and Hunter, you can't help but follow along, nervous, but still exhilarated by the journey. Watching "Fall" on a big screen and experiencing the nerve-shredding vertigo that comes from the proceedings is the kind of pulpy fun that memorable late-summer movies are made of.