Antebellum feels curiously unfinished. Rushed, even. You catch a glimpse of what the filmmakers are going for here, but never entirely buy it.

Face the Music is just so overwhelmingly nice. It’s a cheesy, dopey, pure comedy about people who care a lot — maybe about trivial things, maybe about the wrong things — but boy do they care. And they just want to share their joy for the things they care about (namely rock ‘n’ roll) to the world. So sit back, don’t think too much, and party on, dudes.

The scares are more textural than truly creepy, and they’re certainly overshadowed by what’s primarily a character piece, with each person’s fears and anxieties literally manifesting as part of the storyline.

It’s a beautiful, strange terrarium of a film, inviting us to gaze through the glass and wonder what’s going on underneath. Just as funny and creepy as it needs to be, the film is Kaufman at the top of his game, firing on all cylinders. A master of his own unique, unclassifiable craft.

Boyz In The Wood is the hippest, wildest, most energetic genre blowout to come from the UK since Attack The Block.

Train to Busan may have injected some life into the genre once again with its surprisingly heartfelt narrative, but Peninsula brings it back to those B-movie trappings. It’s not particularly clever or groundbreaking. But you know what? It’s pretty damn fun.

No other artform could quite present such a collision of time, place, idea and emotion, and it’s clear that Nolan’s pure intent is to give us the utmost of what this medium can uniquely provide. At its best this is a ride that manages to be viscerally thrilling while still being emotionally and intellectually engaging, all in ways that are truly, uniquely cinematic. In other words, say what you will about the tenets of Tenet, at least it has an ethos.

The Pool is a bonkers blast from beginning to end. Each wave of misfortune crashes down harder than the last, pummeling a walled-in main character with sadistic spite.

Howard feels like an in-memoriam tribute from a friend: made with a rosy sense of nostalgia, and perhaps a few too many photo montages, but with love.

Though Munden attempts to overload our senses with rich visuals, The Secret Garden does end up feeling kind of slight, like the film rushed through the SparkNotes version of the story.

There’s an undeniable and lovely sweetness at play in this film; a type of warmth and acceptance that helps elevate the entire package.

Keery turns in a good performance, insomuch as Kurt’s thirsty loser is a 180-degree turn from Steve Harrington on Stranger Things, but there’s nothing enjoyable about him slipping into the skin of this maniac, and very rarely anything enjoyable about the experience of watching the film itself.

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.

As far as directorial debuts go, The Rental is a strong start for Franco, who proves here he can take not just one but two different tried-and-true genre formulas and rework them into something neat.

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.

Natalie Erika James’ debut doesn’t just tug at the heart, Relic wraps around it and steadily sinks its teeth into it.

Where previous wartime productions that Hanks helped spearhead had the grit, suspense, and complex characterization that defines great modern drama, Greyhound is a stripped-down touring production with an unexpectedly recognizable lead. It’s a serviceable way to spend 90 minutes, but serviceable isn’t saying much.

Most of the time, attaching visuals to these songs I know so well enhanced my experience because actually seeing the performers, chests heaving and sweaty from performing choreography while singing, gave me a newfound appreciation for the disembodied voices that have been branded into my brain. But occasionally, a lighting or camera choice actually lessened my enjoyment of a song.

Unfortunately, whenever the action stops, The Old Guard sags, with emotional moments that never really land, and big dramatic scenes that lack any genuine drama.

The problem is that Eurovision Song Contest can’t dream of capturing the real-life weirdness of Eurovision. And while there’s some chuckles that can be drawn out of McAdams and Ferrell lip syncing a surprisingly catchy song while running through a hamster wheel, there’s only so much fun that can be made of a televised singing contest where weirder things have happened.

Irresistible is one of the dullest, most toothless comedies in recent memory.

Assayas becomes so subservient to the sheer volume of events and information he must bring to life that the film completely subsumes any sense of personal style or voice.

Not many films have started this funny and uplifting, while ending this bleak and depressing.

While the film gets points for bucking tradition and trying to portray its scenes of fright mostly in bright daylight (shot with sharpness by cinematographer Angus Hudson), the scares just aren’t very scary. It doesn’t help that the pacing never feels right, with long stretches of the film focusing on things that would’ve been better served by being truncated.

Artemis Fowl is not just a disappointing adaptation, it’s a badly made movie. Its Frankensteined plot and its shockingly poor CGI — which could have passed in an early 2000s movie, but not in 2020 — leave it no redeeming qualities. It gives me no joy to say that yet another movie adaptation of a beloved childhood property has wasted Colin Farrell.

As he’s done so many times before, with BlacKkKlansman being the most recent example, Lee is able to wrap his messaging up in an entertaining package, crafting what could be considered a war pic and a heist story that has so much more on its mind.

The King of Staten Island wants to balance sweetness with humor, but it never quite figures out the formula. Many of Davidson’s quips are pretty funny, but there’s nothing here that’s going to stick with you – the next great quotable comedy this is not. The pathos fairs a bit better, but here the problems of Davidson’s range become apparent.

An exemplary work of low-budget filmmaking, The Deeper You Dig is an eldritch and well-crafted film that is far from shallow.