The vibrant singing and dancing aren’t what makes this musical so special, even though Puerto Ricans can be known for their incredible ability to move their bodies to just about any sound. “In the Heights” pulls off the impossible as it accurately represents the Dominican, Cuban, Puerto Rican, and many other Latin diasporas in the United States.

Oxygen may not be the most unique film, but its terrifically panicky and suffocating qualities will leave you breathless nonetheless.

Negoescu’s charmer plays out as a gentle, ambling, misadventure with three guys who work really hard to make their luck run out. On second thought, maybe this isn’t so different than the rest of the Romanian New Wave after all.

Bana is one of the producers of The Dry, and it’s not hard to see why he wanted to act the role, which is uniquely suited to his specific talents – his potent mixture of brusque physicality and barely bottled emotion. Connolly is a patient enough director to let us take in the pain this man holds in his face and the quiet power in his eyes.

As an experience, “A Quiet Place Part II” is still riveting and intense and should check all the boxes for most audiences, especially in the “I just wanna be gripped and entertained” post-pandemic age. For those looking for a little more depth and soul and a movie to fully coalesce in the end? Well, you might have to wait for the next chapter for some true thematic and emotional closure, but still, it’ll be hard to argue this won’t be an escapist thrill for most audiences in theaters, at least.

As a taut thriller, it works, but the “why” of it all, the substance that generally makes even Sheridan’s worst efforts still fascinating, is strangely and glaringly absent.

The Woman in the Window thoroughly struggles to keep the viewer interested in Anna’s fight to prove the veracity of her version of the story

it’s a flawed but welcome throwback.

Riders of Justice ties together gun fights seamlessly with melancholy and masculinity, putting them on similar footing without one gobbling up the others. The effect is complimentary. Remove one theme and the others crumble. Jensen quietly, and nearly constantly, adjusts his filmmaking to suit varying tones, softening for moments where the subject is human suffering and then hardening around muscular elements

There turns out to be no actual book in Spiral: From the Book of Saw, but it does define what makes an intricately bad movie, with flaws that can sometimes be earnest, unintentionally hilarious, or disappointing.

Snyder’s best movie since his debut, the zombie film “Dawn Of The Dead” (2014), Army Of The Dead is tremendously compelling and deftly navigates a lot of different tones, even if it quickly leaves more interesting ones behind. Largely captivating and thrilling, for all is gore, darkly twisted comedy, and delicious tension— surely something satisfied audiences will walk away with—there’s also a minor but palatable sense of loss and melancholy. One that echoes the hardships of the pandemic age and ruthless American capitalism and gives the film some socio-political edge.

One of the strongest aspects of Monster lies in the film’s well-picked, finely tuned cast.

Hyper-violent and narratively undercooked, the film represents a creative nadir for pretty much everyone involved and manages something even Ritchie usually avoids: boredom.

As usual, Anderson offers a stirring, compelling counter-example to mainstream film, eschewing familiar, conventional character or plot-driven storytelling, mobile camerawork, or traditional editing. Instead, Anderson has deliberately embraced a rigorously minimalist, austere approach: deadpan-inflected, satirical vignettes, one-shot/one-scene camera set-ups, and occasional fade-to-blacks or abrupt cuts to mark the ending of one abstractly connected scene or idea to another, all meticulously planned, filmed, and edited from Anderson’s beloved Stockholm-based soundstage.

We all have our own regrets and sins to reconcile with. The Banishing reminds us that sometimes we’re forced to answer for the sins of others, too.

Because this is a packed ensemble and a joke-driven movie, the characterizations are fairly thin. We don’t know much about Lori, just that she isn’t ready for marriage. Though the casting of Cash opposite Harper makes sense, and the performances make us believe in the pair, we aren’t given any reason to believe they were once a happy couple.

There’s a more rewarding film in here had The Boys From County Hell pushed the humor a bit further, and pitched the scares a touch higher.

Deadpan has never crackled with such life as it does in this miraculous movie, a stunning synergy of story and style to which all films tackling sensitive social situations should aspire.

It’s an absorbing (if sometimes preachy) look at the horrors of becoming a housewife, and a splash of holy water on the demons of assigned gender roles.

The beautifully animated road comedy The Mitchells vs. The Machines manages to take the genre and, while admittedly dipping its toes in the murky waters of cliché more than a few times, offers enough of a fresh take to provide a breezy escape during the near-two hour journey that unfolds.

Stowaway is surprisingly decent despite the drag near the finale.

Though the delightful ensemble allows this slight comedy to bob along, it’s Henry who steers this ship into gentle waters. He imbues Charles’ substantial reawakening with great tenderness.

Rich filmmaking, from assured camerawork to tactile set decoration, is the film’s basis. But richer exploration of theme and spiritual belief is its design. Things Heard & Seen isn’t elevated. It’s just mature, wonderfully made, and, whether dead or alive, human.

Ultimately, put its questionable politics aside, Without Remorse, even as a simplistic action thriller is joyless and lifeless, an arid space of empty macho bullshit with a lead character who is the equivalent of a bulging forehead veins meme.

Ultimately the film resembles cosplay with an expansive budget. It took 20 years and change for a new Mortal Kombat movie to get a green light. Maybe they should’ve waited a few years longer.

No one wants to be the sober person at a party where everybody is high, but that’s often what “The Marijuana Conspiracy” feels like.

Though the actors suggest a better result, Stein’s thriller is really just a Lifetime movie dressed up in a tux, and the problems start piling up faster than you–or any therapist–can count.

Unfortunately, this noble effort never truly achieves the lift-off and greatness it aspires to reach.

Bad characters? Check! Well-worn, uninventive plot? Check! Forced physical comedy? Check! A big-budget and no oversight? Check! Put all of that together, and what do you get? Another bad Netflix comedy from the makers of other bad comedies. Sorry, McCarthy and Spencer, but you’re better than this.

It’s not just the premise that makes this work, but also the execution of light comedy and heavy horror. The humor is humorous, the horror horrific. Happily draws from genre conventions but feels completely fresh. It’s a trip, and if you’re willing to follow that trip to the end of the road, it’s a trip worth taking.

Clearly, the director takes great risks off-screen. If only they were as great on the screen.

The Courier is not about espionage—it’s about the sacrifices we make to help our country—in this patriotic, put-you-there true story.

This Is Not A Burial, It’s A Resurrection, is that rare gem of a film that falls into an unclassifiable category.

It’s essential to have characters and a good story around a ‘GvK’ movie because, without it, all your left with is an empty trailer of fight scenes. The irony is this overly involved story detracts from one’s engagement in the movie. Legends may finally collide in this installment, and it’s mildly entertaining in spots, but the whole endeavor is ultimately almost as hollow as the earth’s empty core.

Yes, Naishuller is an inventive action shooter, and if highly-tuned, keyed-up action orchestration is your game, Nobody will light you up, no doubt. However, if you’d love to see the intriguing ideas—that the movie itself proposes upfront—about fatherhood, guardianship, violence, contempt, and neglect, at least semi-threaded throughout the action story, you’ve come to the wrong movie.

If “Planet B” is less than a sum of its parts, ending before the Webb is launched, and lacking overall closure, it’s still a wonderfully observational portrait of exploration.

Kali and Molina’s I’m Fine (Thanks for Asking) frustratingly struggles to find its way, but when it does, this story of houselessness, grief, and motherhood blossoms like a sunflower in a rich field of pathos. And offers a very brief balm to these heady times.

These young performers are always true to themselves. Honest and bare without inhibitions. Which is fitting for a movie that’s about rebuilding oneself and one’s connections to the world by telling yourself that the pain is okay. The hurt is real. And the love we give never dies. Park’s The Fallout is a resilient character study of grief in all its forms.

As much as Charli is the star of this documentary, her fans are, too, and Alone Together manifests as both a wild ride and a soothing balm—as long as you don’t think too hard about the labor ethics at the center of it.

Somewhere You Feel Free certainly captures the spirit of the time, the sadness, the warm-heartedness, and the creative openness, but one could easily argue it doesn’t really add that much substantive value, beyond some of the making-of stories and what’s already there in the poignant grooves of the music.

In the end, Violet feels less like a film than a pitch meeting. A frenzied flurry of ideas, devices, and character sketches chucked out to see what sticks. It’s flashy, but not fascinating, which leaves this drama of inner conflict and deep thoughts feeling horridly shallow.

The pacing is wobbly – it runs a too-flabby 105 minutes – and some of the filmmaking is pretty rickety . . . . But Swan Song is about its performers, and they shine.

the driving force of this film is rooted in Blair’s wit, which sings to her resilience.

Gregg, who wrote and directed, has mostly written for television, and while this is her feature directorial debut, she’s a born filmmaker.

Chris Kim’s skittering collage of a documentary Wojnarowicz doesn’t explore his career from the outside but rather works ground up through his art to present an experiential plunge into the raw tumult of the New York art scene just before and following the onset of AIDS.

Unfortunately, Zoom movies do not really benefit anyone, Morales or otherwise (but hopefully this means, she gets another opportunity to do it for “real” out in the world). Duplass’ Spanish is good (a nice plus), and the movie’s intentions are in the right place; it’s warm, warm-hearted, and even mildly bittersweet, but in short, no more Zoom movies, please, and thanks.

Michelle Ford’s Test Pattern, with patient specificity, probes the institutional injustices suffered by black women to potent, provoking effect.

The most Crisis will give you is the empty gift of occupying two, completely uneventful hours of your life.

The whole thing is a wildly uneven, extremely repetitive mess that could have used a few rewrites, as well as another look at the genial, genre-bending source material.

It’s worth a look. And as another voice added to a growing chorus of Asian-Americans who were taught to be quiet, I guess I’m glad it’s not polished, that it’s coarse and impolite.

For a film that so often trades in claustrophobic close-ups, some of the strongest compositions in Natural Light are its grander landscape shots, making a sinister beast of Hungary’s jagged treelines.

Most of all, the chance to spend 90 or so minutes in Fonda’s orbit offers a welcome reminder of what cancellation actually means. For her, and for F.T.A., it means silence. Bravo to the folks responsible for putting the film under a spotlight at a moment where a lesson in genuine cancellation is so desperately needed.

The true drama in the admissions scandal is not the ringleader or the celebrities and hedge-fund magnates who hired him but what this Hunger Games scenario means for all the children whose parents cannot afford his services.

Come True” is a surreal, mysterious, and efficient mix of science fiction references with an original ending.

ZSJL is a fan cut as much as it is a director’s cut, with all the indulgence that the notion applies. As for any continuation of the story, as the fans hope, that seems gravely unlikely considering the direction Warner Bros is headed. But for a director who had to abandon his grand superhero project because of a family tragedy and because a big movie studio tried to wrestle control of the film, which was too much to bear at the time, one supposes, this postmortem collectible for die-hard, is about as good as an outcome as one could get.

Superbly executed, Quo Vadis, Aida? is a masterful high wire act of tension and devastating humanism.

Brühl works confidently as a director and star, however, hopefully with the potential to be a little more ambitious in the future.

One finds oneself hard-pressed to find a wasted frame here.

Far from being copraganda, A Cop Movie, the new feature from director Alonso Ruizpalacios (“Güeros,” “Museo”), is a formally daring and incisive deep dive into their performance of authority.

Rejoice action fans, Frank Grillo is here to save the action genre, and Boss Level proves that he has the goods to perhaps do just that.

It’s infinitely more fascinating as a personal exorcism of old demons than as a piece of documentary filmmaking. That said, despite its cliched stylings, it succeeds through its intimacy and emotionality, as well as the smart arrangement of its footage.

Introduction initially feels like a smaller, quieter addition to the filmmaker’s oeuvre. Still, it proves to be another delicate and profound testament to how our lives can always be intertwined with those from our past, to the everyday human interactions, and especially to the honesty and wide-eyed possibility of youth.

[A] benign, only marginally-amusing-at-best nostalgia cash grab.

Its achievement lies in the space it creates for these children to open up a dialogue they rarely get to have – one that inevitably asks more questions, but that welcomes them as mature thinkers, keen to understand more about those raising them and the conditions in which they are being raised

More than a sardonic subversion of the tropes we fall for time after time, Schrader’s thoughtful romantic study digs into mundane neuroses and existential fears with wisdom, and empathy, making sure to keep you guessing long after Alma and Tom have stopped gazing into each other’s eyes.

It’s just dull, deeply bland, and unsophisticated, with little to say about any of its themes of intolerance, fear, misogyny, and gaslighting, other than these feelings exist.

In the overstuffed indie coming-of-age subgenre, Sophie Jones makes an unassuming, honest contribution. Which is exactly what it needed to do to stand out among the endless pomp and quirk.

For all the enchanting elements, the kooky lovable sidekicks, and spirited voice performances from Awkwafina and Tran — the warmth shaking the ash from this well-worn story is the gift of family. The family we are born with. The family we make. The Southeast Asian-inspired “Raya and the Last Dragon” conjures some much-needed magic for a modicum of fun.

Slightly disappointing denouement aside, The Vigil is an effective, stripped-down exercise in pure terror, and a strong argument as any for a new wave of Jewish Horror.

Whether you’re a fan of her music or not — and for as many die-hard fans as there are, there’s plenty of dissenters — it’s fascinating to watch a singer come into her own, establishing her still-forming identity in a rapidly shifting industry. Hopefully, Cutler will stick around, watch the development and, see what more can emerge in the future.

There’s a great film waiting to be made about the opioid crisis. But much like “Hillbilly Elegy,” “Cherry” can’t conjure up the cause and the toll of the devastation without relying on pastiche. Even the ending, meant to be a moment of healing, reduces Cherry’s concluding journey to a mere saccharine montage.

It’s a mixed-at-best effort with a strong lead performance, but one that ultimately cannot honor the legendary song (or singer’s life) it takes most of its emotional and spiritual cues from.

Look, America certainly needs relief, support, escape, and laughter, yes, but good god, ‘Barb & Star’ is not it.

It’s doubtful you’ll be shocked by any major event in the film, but it’s the ability of The Map of Tiny Perfect Things to surprise you with the emotional resonance that ends up being its biggest strength

No, it doesn’t make much sense. But holy shit, it’s a wild-ass ride.

PVT Chat is a nasty, unflinching, discomfitingly watchable experiment that, if nothing else, proves once again that Julia Fox should be in all the movies, all the time.

This movie is literally and figuratively saying music can save your life, but the execution is all treacle and dust—overly sweet and utterly empty.

Mostly compelling but unfocused, Wild Indian dips its narrative feet in a slew of themes, all worthwhile, and doesn’t commit to any of them as its guiding star in the murky sky of its ambition. As the filmmaker tries to bind all of the moving parts, the whole turns scattered-brained and structurally disjointed.

For a movie about the inequities inherent in both parent/surrogate relationships and expecting father/expecting mother relationships, the stakes hover surprisingly low in the plot stratosphere.

Beneath the layers of fuzzy frequencies, feverish absurdism, and kaleidoscopic tints lives an inconspicuously poignant movie about existentialist dread, the very human need to reduce the noise, and the genuine longing for connection in a chaotic, jumbled up world.

The entire ensemble rolls with the fast punches. And Crosby and Knapp show real comedic potential. But First Date takes too many big bites without the ability to digest any of its gummy sweets. Crosby and Knapp’s First Date, an at-times hilarious California pleasure trip, dissolves under the weight of its self-evident ambition.

One of those movies that starts off so well, that shows such promise, that its slow unraveling feels less like a disappointment than a betrayal.

Filled with fascinating yet long-forgotten anecdotes ... "Street Gang" ultimately focuses on the correct subject: the artists and educators who made "Sesame Street," and how much of its power and influence seems an outgrowth of the unique chemistry created by those specific people, at that specific moment.

Transmitting such a deep and moving paean of a band, the music they’ve created, the complex humans behind it, and bow-down respect for the long-haul resilience they’ve demonstrated over years of ups and downs, Wright presents a movie like a superdeluxe mixtape gift, adorned with loving attention to detail, gorgeous artwork, footnotes, and other bells and whistles, that is extremely easy to fall head over heels for regardless of your conversant knowledge of the band or its odd, but catchy music.

No one would deny Sisto clearly has a vision of what he’d like to accomplish and shows flashes of humor here and there, but the almost overt influences of any number of other filmmakers (Michael Haneke, ‎Yorgos Lanthimos, and Sean Durkin immediately come to mind) have the cumulative effect of making the proceedings feel numbingly familiar.

Ulman’s black and white freshman feature is an absurdly and assuredly packed jack-in-the-box that’s short, sweet, and, incidentally, a quirky sharp, vainglorious commentary on these post-crisis, Robinhood Redditor times.

The Dog Who Wouldn’t Be Quiet is a visually realized film with perhaps too much on its mind for its limited runtime.

What’s strikingly revolutionary in Pleasure is how Thyberg’s gaze provides Bella’s story much-needed context by embracing the mundane aspects of this particular world.

It’s not very good except sometimes when it’s fantastic.

With an incredible ensemble and an elegant eye, Hall’s Passing is a high-wire act of a debut that tackles its several thorny issues with nary a scratch.

King comes so close to rendering Hampton’s life and legacy anew for a younger generation. But for all of the film’s eloquent crafts and the audacious performances from a deep ensemble, which includes an under-sung Dominique Thorne as Black Panther member Judy Harmon, Judas And The Black Messiah doesn’t fully encapsulate either its Judas or its messiah.

A good movie exists in On the Count of Three. But a film with such challenging subject matter needed a more experienced director capable of shading the dark comedy and the heartfelt spirit with an assured visual hand.

For a good hour of the film’s running time, Kranz’s restraint is admirable, his script allowing his four superb actors to find and flesh out their characters, so it feels like we’re watching people, not merely a situation. Each of the four manages the changing colors of their monologues.

Despite some pretty vistas and a typically watchable performance from Wright, Land proffers rather too tidy a reiteration of things the movies taught us long ago, about how embracing life means embracing pain and how it’s only through connecting to others that we can truly know ourselves.

Ascher’s appropriately discombobulating stew of queasiness, comedy, and terror seems well-cued to the subject matter, even while missing a certain editorial sharpness that might have brought some of its notions into greater clarity.

The film’s lived-in craftsmanship provides structure in an unstable world. Collins’ superb performance gives it soul.

“How It Ends” is not actually an end-of-the-world film at all; here, the Apocalypse is just a well-shucks excuse for a bunch of yak sessions between goofy (but attractive!) oddballs doing quirky shit and Speaking Their Truths on an accelerated timeframe. With all due apologies to the plants, animals, and 7.5bn other souls about to be incinerated in a doomsday fireball, #teammeteor.

In the Earth isn’t a complete washout; there are moments of bleak humor, genre fans will enjoy the striking imagery and gross-out shivers, and the director has an undeniable gift for setting and maintaining a mood (he gets a big assist on the latter from Clint Mansell’s synth score). But ultimately, it’s kind of a slog.