Director Trish Sie knows better than to mess with the formula and the film plays out like a reunion with the characters you love.

Every single action proves overt to the point of superficiality with Hostiles becoming less introspective drama than unsubtle parable.

Ultimately, the whole point of the picture comes down to the tune “This Is Me.” The crux of the song, led by the impressive Keala Settle, is to be comfortable in your own skin no matter what the masses may say. It’s hard to fight against this kind of positivity, as delivered by these kind faces and kind songs. The Greatest Showman, despite its flaws, is a winning piece of work.

The Ballad of Lefty Brown, the sophomore effort from director-producer Jared Moshe, invests blind faith in the classic western format and shows just how hollow genre films can prove when they strive too earnestly towards imitation.

Taylor-Joy and Cooke have a weird, comedic dynamic that could have put them in the canon of cinematic duos if the movie had been braver in pushing their relationship to darker territory. Ultimately, Thoroughbreds is a lot of potential with an anticlimactic payoff.

[A] hilarious and occasionally moving portrait of Jim Carrey’s time making Milos Forman’s 1999 Andy Kaufman biopic Man on The Moon.

Rian Johnson’s main feat is being savvy enough to know that sometimes the best thing to do is cherishing the past before burning it to the ground.

Schroder and his subject do have a nice casual familiarity; hopefully he’ll check in on Ingels every ten years or so.

The adventure rides on the charisma of the ensemble, who milk the body-switching situation for all it is worth.

There’s a great documentary in Quest, but this is a case of a film that’s trying to cover too many things, and thus only muddles its own intentions.

Whatever issues I have with the final construction don’t alter the reality that Recy Taylor’s story must be told and seen.

This is less an examination of a singular person than a look at the torturous and sublime experience of his creative process as it relates to the most important people in his life.

The more you interrogate the premises underlying The Post’s themes, the more they disintegrate. The daunting fact is that only mass movements truly change society for the better. But that’s a messy process with a lot of depressing history built in, and not ideal for narratives catering to prim liberal sensibilities.

While the whole thing meanders with no destination, I’m going to hold my position in the middle because it looks fantastic. If nothing else this exercise in nihilism has given Keating an excuse to throw everything at the wall and see what sticks.

Mary and the Witch’s Flower is safe, containing no assertion of Ponoc as an artistic force beyond its overall technical accomplishment.

Branagh—the actor—dominates the film, with everyone else in supporting roles. Meanwhile Branagh—the director—relies on a too-colorful style and atmosphere, shooting himself in the foot by cutting short the darkness that loomed in Christie’s original vision.

The Divine Order packs a lot into its brisk 96-minute runtime. But it never feels forced in the process.

Vine fad “Simply Sylvio” and its film adaptation — more plainly titled Sylvio — by directors Albert Birney and Kentucker Audley offer a tense amalgamation of lowbrow sensibilities and highbrow execution, which the anthropomorphic gorilla then beats into submission.

Lamarr wasn’t without demons, but to look at the entirety of her life in context along its volatile trajectory of highs and lows is to understand she was a victim of chauvinistic times.

Stevens excels at playing put upon characters mired in self-doubt with both heavy drama and infectious humor (see Legion for another great example). He deftly pulls off the necessary instantaneous shift from frustration to epiphany very well.

It’s a humorously tragic scenario that excels thanks to its performances.

After a string of films ranging from safe sequels (Finding Dory) to franchise duds (Cars 3) to not-fully-realized adventures (The Good Dinosaur), this is Pixar coming back in a heartfelt, gorgeous way.

Fear of the supernatural ties directly into a fear of the unknown, but with no doubt surrounding the spiritual aspects going on, Angelica becomes a film more invested in its own ideas than executing them properly.

In between battles the banter is light enough and the actors charming enough to make even the most leaden dialogue bounce a little.

Much of the film’s success does reside upon Chbosky’s mostly restrained execution, but it is Tremblay that carries it. His fully rendered and exceptional performance is something of a miracle as it joyously goes past the prosthetics and into the core of his character’s roller coaster of emotions.

Negri has a compelling tale to tell about life, death, and love — the execution is just too schizophrenic to earn our investment.

Everyone involved grabs his/her role by the horns and rides the adrenaline rush to victory or death.

Fearless writer-director-actress Marianna Palka has crafted an bold, dark domestic comedy with Bitch.