Venom isn’t sure what film it wants to be, and it makes for an unintelligible, queasy roller coaster ride.

With Bad Times at the El Royale Goddard’s comparatively leisurely pace may disappoint the more impatient, splatter-hungry genre-hounds in his fanbase, but for the rest of us, he has made impressive, enjoyable and gorgeous-to-look-at work of his “difficult second album” by defying expectations in a different way: broadening his scope, deepening his craft and letting the Bad Times roll.

Tyrel boasts some fine performances and some compelling ideas, but ultimately, it plays like a version of Jordan Peele‘s “Get Out” where nothing happens.

Raw, improvised and indicative of Trump’s America, The Oath reminds viewers of the need for laughter despite the downtrodden insanity around us. Thankfully, Barinholtz resists the urge to lapse into cynicism, because at the end of the day people are more important than politics.

Despite its tendency to lean upon self-serious reimaginings, it is nonetheless an engaging and tenderly drawn film that is likely to resonate with anyone who has had to do the tireless work of sorting through an estate of a family member.

The House With A Clock On Its Walls has its fair share of charms, but it doesn’t leave you spellbound.

There’s a line for an audience between conveying the true horror of what occurred and being excessive and Maras barely avoids the latter.

The set-up in Free Solo can sometimes be repetitive, as the filmmakers continuously fawn over their subject’s accomplishments in the nerve-racking build-up to the main event. However, the absorbing lure of the movie, the climactic, terror-provoking Yosemite climb itself, is overwhelming and worth the wait.

Feeling stilted and steeped in uninspired biopic tropes, Kelly’s film never comes close to an inventiveness worthy of JT’s imaginative, outrageous story.

Minghella surely knew that what he had here was a familiar story, but despite his gritty and admirable direction it fails to break the traditional formula.

Aside from the striking scenes occurring on the battlefronts, everything else in this picture is subpar. “A Private War” works off a disjointed script and tells a dull story, populated with forgettable characters. Pike throws herself into Marie, and the intensity of her commitment is palpable, but the flashy performance feels soulless.

Maybe someday, Jennifer Garner will be given a project that proves her talents once again. For now, though, we’re left with Peppermint: a wretched action misfire that leaves a bad taste in your mouth.

Our Time is gorgeously shot, naturally, and the intentions are well-meaning but far too self-serving.

Moore plays Gloria with a twinkle in her eye that makes her lovable and a yearning for connection that makes her relatable.

Holofcener knows human pathos, the melancholic, absurdist tragedy of it all, the laughter, the tears, the dark biting irony. She understands human behavior and her sharp, well-observed ‘Land Of Steady Habits’ is as lovely and near amazing as anything she’s made thus far.

Though equipped with a ton of bravado and ambition, Austin Vesely falls short of crafting a great horror comedy, B-movie classic and Slice just doesn’t make the cut.

As surely as a hiker extending her arms in the middle of an undulating lava field, Iceland has arrived, with a startling movie that’s every bit as idiosyncratic, homely, and dynamic as its country of origin.

At its best, it’s a moody, scary, post-Peckinpah meditation on masculinity — and an all too rare opportunity to see Mr. Wright fronting a feature.

The Chesters have created something truly stunning and want to share it with the world. I’m sold on the lifestyle but as a film, their approach doesn’t make for the most compelling drama.

With all this evocative material available it’s unfortunate that Kent lavishes so much of the overgenerous runtime on repetitive and redundant plotting.

So much does not connect here and so much is designed to discomfit that there is unexpected resonance when Alverson lays aside the scabrousness and puts down oddball drollery to remind us that inside every lonely young man, there’s a shivering kid waiting to be picked up and brought in from the snow.

Maya is full of the kind of tiny, keenly observed moments that make Løve such a special filmmaker.

Perry combines a knock-out cast with an incisive script for a wild-eyed musical-drama with poignant themes.

Green Book is an on-the-nose social commentary that is told with such craftsmanship, earnestness, and comedic expertise that you’re still excited to go along for the ride.

One of the film’s successes is its ability to subvert expectations.

A stunning, often flooring masterwork about desperation, writer/director Tim Sutton’s, “Donnybrook” is a brutal elegy for those living on the forgotten fringes of America.

Every time Dolan generates a head of steam, he’s betrayed by his script, by the self-conscious formality of the dialogue, or the clunkiness of the structure.

It’s an uneven film, but a deeply passionate one that also features an A-list actress at the top of her game.