It’s hard to resist the joy of the film, the unbridled heart, and Ove’s tremendous, hilarious hatred for all the idiots of the world.

The workmanlike precision of On the Job carries through to its action scenes, none of which are shot with any flash or style, but are edited with a propulsive pace and performed by a watchable cast enough to make them engaging.

Rebuilding Paradise reminds us that even after a razing, life will return and grow from under the ashes of destruction.

Tel Aviv on Fire is a summer gem unlike any other you will see this year–an invitation to laugh at a world in decline.

Sidney functions as a loving memorial to the pioneering Black movie star who passed earlier this year, but it never suffices as more than a tepid first draft of his life. And it is never as groundbreaking as Poitier’s best work.

Bloated at nearly 140 minutes with Cooper clearly miscast in the lead, it struggles to maintain urgency. Dreary and overly saturated with a CGI patina, this new take on Nightmare Alley adds more gore and f-bombs to the source material but ultimately remains emotionally inert and unclear exactly what it wants to say about these characters and the world they inhabit.

The film is very, very funny, consistently.

For all the dicks of varying turgidity on proud display, it’s the intimations of true insecurities that leave these characters most nakedly exposed.

With well-staged action, good character work, and believable progressions from the previous installment, The Quake is the sequel that fans of “The Wave” deserve.

Sisters never carries any feeling that De Palma is showing off or flexing his cinematic chops because he can, or is above the material. The film is utterly transfixing because it plays its schlock straight, and paired with Hermann’s hair-raising throwback score, the effect is giddy.

Wuthering Heights is a model of how to bring a classic novel kicking and screaming into the twenty-first century.

The film's own spin toward a liberal audience means it chokes into ineffectuality when it tries to take a less ironic and more active stance on society's biggest current white whale, because the persuasive sermon it preaches, it preaches exclusively to the choir.

This isn’t an overly sentimental story; those expecting the emotional swells of other British fare like “Pride” and “Kinky Boots” should adjust their expectations. The Lady in the Van is a more buttoned-up narrative, but it’s no less engaging thanks to Smith, Jennings, and Bennett’s script.

Beavis and Butt-Head Do the Universe maintains and respects the legacy of the classic MTV show. It hits all the same beats, delivers what people will be looking for, and smoothly weaves in social and cultural references from the 90s and today without feeling ham-fisted or forced. It’s hard to say whether this feature will win them any new fans because, as enjoyable as it is, it’s not their finest hour (and 40 minutes).

The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist.

This whoopie cushion of a film raises the concept of the lowest common denominator up to the highest highs of esoteric tastes and in doing so, gets closer to the essence of artistry than all of its self-important, straight-faced forebears.

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.

[Kreutzer] might have served Gentle Monster better by narrowing her focus to a pure character study. But one hardly has to squint to find those elements in the film. They’re present every time Kreutzer trains the camera on Seydoux and lets her demonstrate why she’s among cinema’s finest working actresses.

1922 is a ghastly slow burner, not the kind where nothing happens until the last ten minutes, but rather the kind that layers minor incident upon minor incident until they tally up to something major.

To run the fool’s errand of divorcing the film from a political context and examine it merely qualitatively, Joe Mantello’s starry-eyed stab at the material is thrilling, an exciting cobbling together of consummate performers delivering acid dipped quips and making the Greenwich Village apartment the film is set in a both dramatically and cinematically elastic playground.

This debut marks a bright future for Vives and is an excellent entry in the romantic comedy format that doesn’t lose sight of who its heroine is the moment she falls for someone.

The disposability of the people who stand in the way of the mercenaries feels at odds with the film’s core ideas about the value of life. Perhaps this is a fitting encapsulation of “The Old Guard” itself. Situated at the crossroads of two different styles and ideologies, the film takes the less-trodden path – though not without a few detours into conventionality.

The odd rhythm of very fast and slick followed by very slow and arty is difficult to settle into, and the film ultimately frustrates, willfully obscuring the apparatus of what appears at first to be a promising film noir framework.

Gellar and Goldfine manage the tone expertly, inserting little jolts of humor to keep things from getting too reverent.

Norwegian filmmaker Emilie Blichfeldt’s horror dramedy is largely entertaining on its own terms, even for viewers unwilling to dig deeper. Its modernist meta-textual caustic sting? You can take it or leave it. But it will richly reward those in tune with Blichfeldt’s gleeful bastardization of fairytale tropes.

Faults is a strangely funny, often eerie accomplishment, and it’s a testament to why people like us tend to call first features like this “promising.”

Berardini’s film follows a narrative trajectory impressive in any documentary, let alone one by a rookie filmmaker. The debut effort is commendable, both for its handling of a complex issue, as well as for its engagement factor.

In finding humor, pathos, and beauty in such a complicated subject matter, Ohs and company deliver a sunbaked ghost story that should stand the test of time.