“Bride” is remarkable for how honestly it earns every tiny tick of pleasure it gives — for it gives many.

It goes without saying that Lambert’s skill at stating the film’s surreal moments is genuinely impressive. She collaborates with cinematographer Dustin Lane and art director Robert Brecko to stage images that stick with you long after you leave the theater. But, outside of a showcase moment for Ridley in the movie’s third act, there isn’t much else that does.

While the more down-to-earth Chef does offer some fascinating autobiographical dimensions, the film is also an overlong, unfunny, largely insufferable bore.

Missing Link is a fun, if uneventful and uninspired, trip, but at least it won’t annoy the parents who are along for its fast-paced ride.

It’s light, sweetly frisky, and warmly inspiring, with a lead performance from Toni Colette keeping things on track.

Maïwenn makes no apologies for liking her characters and being invested in their problems, even though in the scheme of things, they could well seem insignificant. And Cassel and Bercot reward her faith with a believable portrayal of a couple who are either the best or the worst things to ever have happened to each other, and very probably both.

John McNaughton’s return after too many years of absence is a dark look at the nature of overprotective parenthood, and how volatile it can become under particularly difficult circumstances. With that said, you’d do well not to take The Harvest too seriously but more, like its deliciously simple and 70s B-movie horror title suggests, as a wickedly fun time.

Devolving into clodhopping heavyhandedness...Stations of the Cross tackles a weighty, complex subject in simple-minded fashion.

Garrel here delivers a witty and elegantly constructed film that joyfully draws parallels between acting and lying, being and pretending, while remaining breezy, fun, eminently accessible and even welcoming.

Though “Pink Wall” rarely breaks new ground in its focus on the evolution of a couple’s relationship, Cullen’s truly raw, intimate approach helps it feel fresher than it might have otherwise.

The director resists the urge to make the family too heroic – in fact, his own character takes an unsympathetic turn near the end, which must’ve been a tough call. But it matters, because it renders his deeply-felt joy and pride at the picture’s conclusion all the more potent.

While Enola Holmes empowering feminist message might feel a little on the nose at times, the film, is nevertheless, a witty and endearing little bauble with terrific elan.

Although the film depicts a fledgling psychopath salvaging roadkill with his bare hands, soaking them in acid in order to collect their bones and finding himself flirting with murderous intentions on several occasions, Meyers’ drama is paradoxically humane and affecting — a direction few thought was possible when deliberating the essence of a real-life monster.

It’s a strong and eye-catching debut, but one that doesn’t quite mark its ground as the next big thing in Israeli cinema.

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

Sarnoski is working on an auteur wavelength. He often lets the momentum stagnate just enough so the viewer can truly take in the staggering annihilation of a city now in ruins, full of death, and inherent quiet beauty. None of this would come close to fruition, however, without Nyong’o and Quinn’s stirring performances.

No Time to Die works best when Fukunaga and Craig work to reimagine the emotions that can drive a Bond movie.

While Out of Darkness is by no means bad, it’s far from the iconic status Cumming presumably hoped to achieve.

Totally bonkers, hilarious and wickedly clever, The Double is special and singular filmmaking at its best.

Both actors are superb, but the problem is that history isn’t really on their side. The incidents depicted in “Saipan” were dramatic in 2002, especially in the sports arena, and to a fixated Irish public who took sides. But two decades later, it all lands with a thud.

Kumiko The Treasure Hunter is a striking film, a bizarre joy and a beautiful delight.

It’s just uninspired, a by-the-books courtroom drama, full of big speeches about justice and equality and Doing What’s Right, moved along by montages and fake-outs.

A brilliant, towering picture, The Place Beyond The Pines is a cinematic accomplishment of extraordinary grace and insight.

Tiny is a sobering contemplation on flaws, forgiveness, and redemption that deserves to be recognized.

The Five Devils feels like the inevitable encounter of indestructible drives, which send sparks flying both when they are satisfied and when they are denied.

“American Pachuo” is just a nice movie about a visionary guy. Entertaining and educational, to be sure, but so frictionless it barely sticks.

As a showcase of her creative process, as well as a dive into the repetition of touring, it’s a loving tribute to the artist and an invitation to listen to more of her music.

“Superman” may leap tall buildings and succeed on most of Gunn’s terms, divergent from Marvel and old DC, inversely punk rock, and overloaded with bright, colorful hopefulness, but it won’t really soar like a bird or a plane for anyone who demands symbolic gestures of optimism are meaningfully made.