“Jeanne” is the passion project of a director who clearly fancies himself a humorist, yet the attempt translates unfavorably as pretentious self-indulgence.

Tolkien is an unfortunately typical biopic riddled with obvious influences and ham-fisted thematic hypocrisy, but it is effective in capturing the moral consequences key to the humanity of Tolkien’s masterpiece.

Full of astutely droll observations, Chokri’s script lends relatable credence to the film’s sharp situational comedy.

A beautiful, full-hearted celebration of the craft of filmmaking.

As typical as it may sound from the outside, tender and devastating in turn, “Sorry We Missed You” is essential viewing.

Careful and deliberate character work in the script paints a striking picture of two friends who are outcasts in their little world yet still find a way to integrate into a community.

For a romantic comedy, Photograph is a little light on romance or comedy, but it makes up for this in thoughtfulness and charm. Photograph is a wistful, old-fashioned romance for those struggling to move forward with one foot in the past.

Fletcher’s inventive reimagining of several musical numbers, in particular, blends striking visuals and affecting storytelling.

It bears the aesthetic and thematic hallmarks of an expertly rendered film with an impressively nuanced subjectivity.

There may not be a map for navigating this gonzo film, but nevertheless, Bacurau is a blood-soaked adventure worth seeking out.

Ash Mayfair’s debut film is an astonishing achievement for a first feature, one not every film-goer will be able to stomach, but a work every caring cinephile should see.

A sensitive, if occasionally orthodox, treatment of a compassionate friendship enacted in the face of societal apathy.

A hilarious and twisted festival amuse-bouche with tremendous cult appeal.

As a film, it shuffles around, shouting out the one thing it’s desperate for: ‘Purpose!’

Daniel tells Natasha of his elements for falling in love, “My ingredients are friendship, chemistry, the X factor,” and he assures her that they have that last one. But that’s what The Sun Is Also a Star lacks: that ineffable quality that makes it work. Though we spend nearly two hours in its presence, it never makes us fall in love with it, despite its best efforts.

Despite a tone that oscillates between quirkish and mawkish, it’s yet another warmed-over male midlife crisis movie, given supposedly higher stakes because the middle of life will be as far as this male will get.

While the overwrought dialogue does test attention spans, its prevailing message — humanity is malignant and inherently wicked— and the hint of something more cryptic makes Passon’s film beautifully disturbing.

John Wick: Chapter 3 – Parabellum is a sure-fire hit and continues the momentum set forth by the previous installments only to surpass them with explosive energy.

The Hustle is profoundly stupid and it treats its audience as though they’re even less intelligent than it is.

A thin but heartfelt piece of work ... But with Ferrara content to let his subject mostly drive the show and not impose more of an authorial vision and context that could have created a grander narrative about the history of moviegoing in New York, the passion is missing.

You absolutely want to hang out with these charming, amusing women off-screen, but the time spent with their on-screen counterparts isn’t nearly as fun as you’d hope.

The restraint with which Youmans characterizes is refreshing, but the performances can also feel diminished by inscrutable elements, whether that’s missing narrative context or simply parts of scenes that are simply hard to see or hear entirely. Still, Burning Cane would be an impressive debut at any age, showing a distinct style, a suggestive eye for setting and detail, and an admirable willingness to experiment.

Beyond the strength of the visuals, there’s promise in the young cast that you see glimpses of here. ... However, it’s never enough to make “Gully” worth watching. Its raw, gritty approach feels like an effort from the filmmakers, but it’s mostly work for the audience to endure.

A noir-ish melodrama so oversaturated with dourness that it borders on parody.

Equal parts choppy and charming, “See You Yesterday” has trouble balancing quirk and melodrama.

Despite its flaws, it goes down easy and guiltlessly, like cheap champagne.

Lyrical, emotional, and intuitive, but also meandering in its ephemeral flitting from reality to the imaginary world.

There aren’t enough synonyms for the word courage to do Sasha Neulinger’s story real justice. Rewind, is simply an astounding movie and a milestone in psychiatrically minded filmmaking.