It’s not tolerable as even basic movie sustenance, or adventurous cuisine, and it’s a f*cking revolting mess.

Where King of Thieves fails its heralded cast is in its shifts in tone. We’ve been promised a fun ride with Caine in the driver’s seat, but the trip goes downhill too quickly.

The oily slick of sin across the surface of this film isn’t what makes it wickedly fun; it’s the utter devotion to its bonkers twist, at once defying logic and good taste. Serenity knows it’s trash, but that’s not to say that it’s not entertaining trash.

With her touching portrait of naivete and the necessity of “hard times,” Miller-Costanzo imbues a potent storyline with bursts of humor and hues of wonder, thus striking a chord of authenticity and comforting resonance within the viewer.

Interesting, funny, yet thin where it matters most, Tunnard’s film is nevertheless a good indication of promising work ahead.

In its first act, Close is a competent thriller, buoyed by early action sequences from director Vicky Jewson and some really solid scene transitions that point toward a strong style. However, as the film goes on, it switches from the precision of a sniper rifle to the scattershot effect of a drunk-wielded machine gun.

It may poke fun at Karen and Tina, but it never says that their choices around motherhood aren’t valid and deserving of happiness. Its ultimate sympathy for these women may be at odds with earlier jabs at them, but it creates an empathetic space that is surprisingly emotionally satisfying.

Little Woods isn’t always subtle, but the occasional lack of nuance doesn’t lessen the power of its timely themes or impressive performances.

In being such a simple, unshowy film, it avoids asking too many questions or digging for the larger truths writ large in the story of Fyre about our society, about celebrity and influencers and Instagram, and the patently manufactured lives that we’re taught to believe we can have.

Bolstered by a damn fine turn by Dorff, who carries most of the film, there’s more to like than dislike with this one.

In a Relationship lays out the director’s talents (working with actors and crafting tone) while also showcasing the areas where improvements can be made.

The Kid Who Would Be King blows the dust off an old tale, and makes it invigorating and inspiring for viewers who will be forming their own round tables of world-changers for generations to come.

Though anchored by strong performances that ultimately make it watchable, the surrounding film stumbles along thanks to a bumbling script that’s devoid of any originality.

While a few fun martial arts scenes pepper the effort, they are subsumed by an overall product that is riddled with plot holes, choppy cuts, laughable acting, and villains so evil that they’d make Skeletor blush.

Ultimately, Glass is a killer concept that suffers from a wobbly execution. Shyamalan nails the intimate stuff, but that third act is just bound to shatter and confound audience expectation.

A drama crafted with precision, and feeling, West of Sunshine succeeds admirably with its modest ambitions, as the filmmaker puts himself on the horizon as one to watch.

A film with a universal sensitivity that relates the pangs of first love, the desirous ache of adolescent sexuality and the excitement of not just discovering yourself but finding those kindred spirits with whom you can share your life.

As sweet, corny, and comforting as your grandma’s creamed corn, Dumplin’ may not be a balanced meal of a movie, but it’s an enjoyably carb-y binge.

Based on the story of a man beaten so mercilessly he had to construct a fantasy world in order to survive his great pain and suffering, Robert Zemeckis’ insipid Welcome To Marwen is a painfully schmaltzy misjudged disaster, and superficial retelling that dishonors a layered and agonizing story about trauma.

Even for those who do know Ailes’ history of profound power abuse and sexual harassment, Divide & Conquer is engrossing.

On the Basis of Sex is a well-enough-made movie, fully constructed in the mold of hundreds of biopics that came before; it’s emotionally satisfying but has few surprises.

If nothing else, Once Upon a Deadpool is an experiment that’s interesting in theory, but it doesn’t prove fruitful in terms of execution.

There is some fun to be had with Bird Box. Despite its sporadic eye-roll moments, the film is charming. It’s the epitome of a rainy day movie – a flick that you can watch wrapped in a blanket with a hot cup of cocoa when it’s too dreary to leave the house.

May the Devil Take You is less funny and a bit less playful than its inspiration in Raimi’s work, but there’s still a sense of fun here. That is, if you find shrieking and laughing in terror fun.

Intriguing, tragic, and 100% relatable, “The Mercy” is a gripping look at man’s struggle to achieve greatness at all costs and has a lot to say about what those consequences entail when the receipts are tallied.

Tense, relatable, and cut from a familiar narrative cloth, Rust Creek manages to overcome a few character and pacing issues to emerge as a quality thriller.

Holmes and Watson will probably make you smile, and occasionally, it earns that goodwill. But it’s nowhere near where it should be with the company present. Forgive the pun, but it’s elementary to find what’s off with this movie. It’s being solved by detectives missing a key clue.

It makes a deeply human experience, and one that’s frequently both educational (the film’s main purpose: a copy will be given to every school in Britain) and moving. In fact, it’s not so much individual faces or interviews that leave the most lasting impression so much as it’s the cumulative impact of all the faces.