Maiden simultaneously functions as a timeless ode to passion and a reflective account of a fascinating highpoint in the history of women’s involvement in the sports industry.

For a film that literally isolates its characters from the rest of the world to confront each other head-on, the drama plays more conventional than challenging.

In keeping with the movie’s mission of being many things at once – a rom-com, a thriller, a low-budget actioner – Murder Mystery also makes an honest if flat attempt at sentimentality that, admirably, is never meant to be taken as an emotional core so much as a springboard for an action-packed finale.

While the reboot possesses a campy charm that advanced ironists are bound to find entertaining, an eerily effective score from Bear McCreary and a scene-stealing performance by Brian Tyree Henry, none of this is remotely enough to make up for a sheer lack of imagination.

Once the flood of heavily redacted documents starts flowing in, Boundaoui’s measured but righteous indignation bends toward what she calls the gray “dangerous place” between paranoia and the truth.

Admirable, ambitious and impressive, but ultimately aloof, Midsommar has its delights for sure, but it lacks the emotional depth to match the sharp insights it has into the evils of the ambivalent, wishy-washy relationship (run as fast as you can).

Containing some of his most open reflections and most electric performances, Rolling Thunder Revue is a terrific addition to the Dylan film canon and an absolute must for Dylanophiles.

Although Miller invests heart and soul into the performance, maybe even career-best work from the actress, and the rest of the cast, especially Hendricks, are excellent, Ingelsby’s screenplay foolishly decides to lay its interests on Deb’s terrible taste in men rather than her daughter’s disappearance.

Leto sadly feels more like the conclusion of summer than the start of the year’s brightest season, and is too devoid of energy to warrant a recommendation to anyone other than diehard fans of Serebrennikov’s prior work.

Despite its sometimes questionable jokes, provocative cultural trolling and a shaky plot, Shaft isn’t either a full-on misfire nor blaxploitation rejuvenation. Instead, Shaft is a decent, if slightly tepid, action comedy anchored by a hilarious performance by Samuel L. Jackson.

For how much Changeland mostly feels like a story grounded in reality, its dream-like conclusion—or lack thereof –kills, with lethal injection, any belief that a journey has actually taken place.

Cooley bursts out of the gate in his directorial debut with high energy, tight storytelling, a rousing adventure, laugh out loud comedy, charming new characters, and most importantly, a tender, and dare I say personal, core.

Whatever the case may be, MIB International is a failure on just about every level, and instead of 3D glasses, movie theaters should be handing out the neuralizers at the end instead to help us all forgot the cringe-worthy memory of what we just watched.

Its atrocious, expository dialogue, cumbersome plot, whiplashing character motivations, unintentionally funny moments, and often corny costumes, ensures, Dark Phoenix will be remembered in the annals of mediocre movies (and for somehow utterly wasting Jessica Chastain, Michael Fassbender, Jennifer Lawrence, and James McAvoy in the same film).

As a primer for deeper dives, including Wadleigh’s film, it’s mainly successful, contextualizing the events and providing some never-before-seen footage. Yet for those already versed in what transpired on Yasgur’s farm, Goodman’s film is really just playing the hits.

Like the kimchi stew it prominently features, this is comfort food at its best. Given its origins, it should feel like something out of a lab, but this is a charming crowd-pleaser in the best sense.

In a film that is so disinterested to conforming to accustomed mainstream movie audiences taste and rhythms, and is committed to its sometimes difficult choices, the bold and exacting Beanpole sometimes feels damn-near radical.

Despite this disappointing effort, Diao continues to impress with the clever use of his camera. Now, one just wishes he could find the substance to pull all this style together in a winning fashion.

Taylor’s film only really works if you turn off the rational part of your brain, which isn’t fully developed until you’re in your 20s anyway. If you can ignore the plot holes and gaps in logic, Ma is a fun, dumb time at the movies.

A flimsy, unremarkable story of obsession.

Sure, Godzilla: King of the Monsters fulfills its promise of Titans and destruction, but at the cost of the plot, characters, and emotional investment. You know, the things that actually make a film good.

The film’s half-hearted politics — which do make a statement, regardless of intent — are perhaps less egregious than a movie that’s simply going through the motions for the bulk of its running time.

His film feels more like a collection of wonderfully envisioned set pieces that don’t fully form a coherent whole.

In Bed with Victoria is buoyed by irresistible performances on the part of the titular lead (Virginie Efira) and inevitable romantic interest Sam (Vincent Lacoste). It is their turns that imbue the film with its energy, even if its generic formula and social milieu is at times too familiar.

As a policier, Oh Mercy! is an affectionate homage to crime cinema but also an engaging variation on the genre’s tropes.

Mektoub, My Love: Intermezzo begins to feel like a human rights violation ... It’s almost impossible to stress how unpleasant this moviegoing experience was, to the point where it’s difficult to imagine a human being making this movie and considering it art.

Unfortunately, “Tommaso” is far more navel-gazing and long-winded than intimate, in as much of a creative funk as its protagonist.

There’s something frustrating about Noé’s approach, but also an undefinably admirable quality to the extremity of his showmanship.