Were it not for the concrete that is Julia Garner’s take on the lead, “Apartment 7A” could unquestionably spiral into indistinguishable obscurity, but even amidst cliché after cliché, it still manages to fulfill minimum requirements within the pantheon that is Horror 101.

As a showcase for the talent that is Elizabeth Banks, in addition to its existence as a thought-provoking exploration of the field of medicine and the human side of patient care, it’s an undeniable victory.

Morris is at the stage of his career where everything he makes is both polished and interesting. But, in recent years, he’s oscillated between sweeping institutional exposés and zoomed-in portraits of characters. If anything, Separated again demonstrates that he’s at his best with the latter, as the documentary’s interests stretch far beyond its grasp.

Hold Your Breath is a strange beast—there aren’t enough thrills for horror heads nor any blood and gore for slasher fans. Even as straight drama, it isn’t entirely successful.

Despite a few too many storylines and Wilson’s comedic indulgence, the musical numbers are often inspired and pack a punch. Wilson proves she can direct the musical aspect of the movie, at least. And, boy, these Aussie kids, er, legal age twentysomething adults can sing.

The film’s lack of character development might not appear so evident were it not in such stark contrast with all the other elements of “Harvest.”

If there is any saving grace to “Horses,” beyond Luc Montpellier‘s often painterly cinematography and Jeriana San Juan‘s superb costume design, is its commitment to chronicling this era of hidden queer love.

Elton John: Never Too Late comes across as a safe and well-tooled piece of a carefully managed relationship with Disney.

The Return is one of the few instances where we wish for more fiery blood and guts rather than less. Even so, this is a superior rendering of a well-worn tale

Ultimately, the biggest disappointment with “Relay” isn’t the big twist, you see that coming a mile away. The issue is the execution of everything thereafter is almost comical.

All told, “Eden” is deeply engrossing throughout and is a compelling look at nasty, vicious characters cracking under trying conditions. The fact that all of this really happened makes this bizarre tale that much more intriguing.

Bring Them Down is Chris Andrews’ debut feature as a writer and director after working in the camera department of several productions. He has a nice feel for the story’s setting and shows some facility filming action. A tighter handle on dramatic construction and character development would enhance his feature filmmaking ventures.

The film will interest school and college athletes and their families as “Unstoppable” ably captures that experience.

Ellis ratches up the intensity to an almost stomach-turning level. It’s partially the filmmaking. It’s also the recognition of how dangerous this mortality game has become.

While the musical elements often take the movie to impressive artistic heights, it’s not just the storyline that ends up hindering Better Man.

Sure, Vikander and Olsen are superb as Mia has to constantly stop herself from wringing Virginia’s neck, but the whole endeavor increasingly feels flat.

The result is a melodrama where any sense of tension fades the longer Nina and Tito speak.

Malcolm Washington, Denzel’s youngest son, has his own secret weapons to assist him in his feature directorial debut. The first is a scintillatingly stellar performance from Danielle Deadwyler. The second is Washington’s impressive artistic vision which proves that a love of cinema truly does run in the family.

Unless you have truly transcendent performances or unforgettable cinematic moments, it’s difficult for this genre of sports story to really throw a unique punch.

There is definitely some extraneous storytelling muddle in The Life Of Chuck, but once you get past the opening act, there are glories to be had – in the form of a terrific childhood coming-of-age tale anchored by a star-making turn by Pajak and exceptional dancing by Pajak and Hiddleston.

With a minimalist production, an enormous burden is placed on the actors to engage audiences, and all three performers come through.

Coppola packs a lot into the film’s 85-minute runtime, but in many ways, the complete experience feels like a slight tease. There is more to explore. There are other portions of Shelly’s life or Coppola’s increasingly poetic perspective of Vegas itself that are calling. But some moments overcome the film’s thin narrative facade and not just Anderson’s triumphant climax, either.

The empathetic instincts of Sanders and his talented artists result in a tearjerker of an ending that may have you bawling.

You believe this woman exists. And Leigh and Jean-Baptiste ensure she will haunt you.

Nightbitch operates in too many modes at once, making a muddle of most of them.

Ultimately, Casa Bonita Mi Amor is a worthy watch, just for the Parker and Stone of it all. These two are hugely entertaining and surprisingly sweet in the film. And if you’re someone who loves watching shows about fixer-uppers and renovations, then you’ll absolutely adore this film.

Any novelty in the film is provided by watching spirited kids being themselves, something Green does manage to capture.

Crowley and Payne owe a considerable debt to Pugh and Garfield. But for their presence, the film might not have been able to rise above its borderline twee mundanity.