Sometimes dead is better, but it turns out a twisted bit of reanimation is just what Pet Sematary needed.

Laika’s craft makes the sweet-natured, grand adventure worth going on, but the accompanying dialogue from those leading the journey is ultimately too simple-minded to make a memorable mark.

Sutherland’s script is working on multiple levels while Tammi’s formal aesthetics reveal an artist in complete control of her vision.

Estevez isn’t afraid to swing for the fences and elicit some tears from empathetic audience members, but he’s also willing to stop himself short of full-on exploitation via senseless violence. That’s what makes The Public a success despite the convenient characters and constant paralleling showing the merit of second chances. Estevez never forgets the humanity he’s striving to spotlight.

The problem with Dumbo, beyond the aforementioned bloodletting its inspiration underwent in order to create the cold, dead narrative corpse that comprises the first act of this film, is the pacing.

While it aims to generate outrage it does so rather quietly (unlike the recent blunt satirical work of Adam McKay) with a predictable outcome as all rigged games do. The process of getting to that point feels terribly uneven; at times a bit over the top in passages and yet restrained in others as certain transactions are treated as just the cost of doing business in The War on Terror.

A film which frequently falls back on contrived, conventional storytelling at odds its with its body-and-soul immersion into the physical and emotional toll of life on the game.

The film progresses predictably with an easy charm even if it’s dragged down by occasionally clunky pacing and sitcom tropes while exploring the complexity and flaws of its characters.

Imperfect, but delightful for much of its journey, Come As You Are packages an important human rights message in a comedy for the bros.

The supernatural element with low-rent visual effects derails an interesting enough concept where the rules don’t matter. Finding a creepy, mysterious porn film is weird by itself, and while it need not be grounded in realism like 8mm or Hardcore, Porno doesn’t have to throw away the rule book to be fun and scary.

It’s a film full of highs and lows, sorrow and recollection, fun and political ideology–a mess, but one that feels authentic and accurate.

Corben finds humor in the absurdity; what might not be so apparent while you’re laughing your ass off is just how well-made and -researched a tale this is.

The final result isn’t a knock-out..., but it’s definitely entertaining. A lot of that success stems from the comedic rapport between Levi and Grazer with the former’s ability to portray Billy’s youthful innocence, frustration, and fear key to the whole’s authenticity.

When the narrative value begins to collapse, all that’s left is the reptilian reaction to and appreciation of the set-piece moments. Luckily, in the case of Us, those moments pay off greatly. It’s just a shame that, given all this talent and ambition, it can’t all add up to more than the sum of its parts.

Those uninterested in cinema’s experimental and formal qualities probably won’t find themselves sitting down to be disappointed or bored by its very insular nature anyway. So those seeking it out will be the ones with the desire to embrace its unorthodox narrative style and subtle progressions.

The latest in a series of work about the cost of the refugee crisis and human migration, For Sama is a harrowing experience and certainly one of the most essential films of the year.

What it lacks in originality it makes up for in its empathetic charm. Sometimes that’s just enough.

Ramen Shop has its charms, but it’s a bit too lightweight to leave a lasting impact.

Brief, personal, insightful, and well-crafted, Vision Portraits is a giving look at the process of expanded creativity by four fascinating artists.

Similar to Obvious Child, the film avoids over the top tropes and shock value with refreshing sincerity. This is the kind of sex-positive coming of age comedy that smart, curious teens truly deserve.

When the film works it veers into the domain of the uncomfortably hilarious as the maladjusted becomes a malcontent without a choice.

The Beach Bum is a skillfully crafted and often hilariously entertaining, but like an evening with Moondog, it might leave you with a hangover.

Despite a few over the top moments, Pig Hag is a nuanced and mature although not restrained portrait of someone who we all have met. This film sheds some light not only on swipe-dating culture but also the kind of people that are typically around the time Journey’s Don’t Stop Believin’ is playing and the house lights come on.

Superbly entertaining ... An engaging thriller first and a millennial can-do tale second, Tollman’s script sometimes tells rather than shows as it repeats points later in the picture. Yet the rapid-fire pacing is continually riveting, calling back to the great political thrillers of yesteryear.

The groundwork is laid for a rich playground of political intrigue and sci-fi thrills, but Captive State is continually hobbled by acting more like a mouthpiece for the state we are in rather than a memorable genre outing with characters we can root for.

Despite some endearing passages, Gene Stupnitsky’s uninspired crude tween comedy Good Boys is a cringe-inducing affair.

You probably won’t love Finding Steve McQueen, but that unyielding wholesomeness ensures you won’t be able to hate it either.

There are certain moments in Long Shot where I thought I might have been watching a new comedy classic. Unfortunately, Jonathan Levine’s rom-com slightly overstays its welcome with a predictably clunky third act that could have lost a few minutes.