Crime + Punishment isn’t without hope, but it anchors that hope to the unflattering realities of American policing.

A laughably bad film.

There’s emotional complexity, making it work for more than just its key demo.

The Ranger is a few degrees off of being great; its villain is way too confused and ill-plotted for the film to be anything other than periodically fun.

The world of the film is bracingly immediate and constantly overflowing—dubious sound design or a shift in image quality, while glaring, can’t puncture the holistic nightmare of Matti’s vision.

Aside from its phenomenal script and performances, Night Comes On delights with stunning visuals.

Anarchic and daring, Never Goin’ Back is a tale of adolescent female friendship that is somehow ballsier than your standard dude-driven buddy comedy. Frizzell’s film is as fearless as her heroines, and it refuses to judge them for their bad behavior.

Our House, doesn’t set its ambitions much higher than the VOD market, and its haunting is passable if not all that spooky.

Pulling off an ambitious mash-up of genres like Good Manners is no easy feat — that Dutra and Rojas pull it off so successfully suggests we’ll be hearing a lot more from them down the road.

Hot Summer Nights is unconventionally amusing, spits in the face of its own flaws and somehow manages to impress by atmospherically rendering the emotions tied to the trappings of young adulthood. At it’s best, Hot Summer Nights is an admirable attempt at summertime antics void of a happy ending.

Age of Rage doesn’t ever chart any new ground. It settles with serving as yet another incendiary portrait of hate in this time of division.

Blisteringly caustic as ever, John Lydon nevertheless reveals himself as an occasionally sentimental sort in Tabbert Fiiller’s fitfully revelatory and charming documentary.

Unfortunately, the tendency of Voyeur to tilt towards comedy undermines the weight of its story.

The Third Murder functions well as a topical genre detour for the acclaimed director, but a degree of incongruity between the demands of the procedural formula and Kore-eda’s usual languid pacing keep the film from reaching the upper echelons of his greatest work.

Teen Titans Go! To the Movies is one of the biggest surprises at the movies this summer. In fact, it’s downright super.

By the time Jarecki is done with Elvis, the lanky, and projects-raised, rockabilly kid just one generation removed from sharecroppers has been cast as everything from an opportunist and grasping capitalist to addled addict to just plain sucker. If he ever was the King, the movie suggests, it’s long past time to retire the crown.

Izzy Gets the Fuck Across Town is a well-made showcase for its talented star. And while it doesn’t quite establish Papierniak’s directorial vision, it does hint at what that might be. It’s a fun hour-and-a-half, inessential but entertaining nonetheless.

Director Tim Wardle’s film is full of surprises, the least of which is its own dramatic shift in tone from wildly entertaining to absolutely disturbing.

This Is Congo has a point to prove and a righteous fury with which to prove it. But it’s focused and precise, which makes the sheer breadth of context required to understand it much easier to digest.

With suburban normalcy ultimately derailed by a suitably cynical, albeit humorous resolution, the final actions these neighbors take contribute to a far more meaningful message regarding the unsympathetic tendencies of humanity. Moreover, the measures taken by these feuding characters underlie the ruinous ways in which grief, hysteria and mental illness as a whole continue to be approached by society, especially by our own family members and neighbors.

Hill assembles a strong cast, and they are immensely watchable throughout the film, but it’s short on big laughs, never as compelling as it should be and lacking dramatic consistency.

This affectionate portrait avoids the major pitfall of comparable docs like Asif Kapadia‘s “Amy” or Kevin Macdonald‘s recent “Whitney” in that it steadfastly refuses to make Williams’ death the defining aspect of his life.

Fuqua’s movie, unqualified to create anything other than superficial poignancy, is empty, tiresome and uninteresting, satisfied with repeatedly communicating that if you exploit the innocent, harm the oppressed or abandon your code of conscience, Robert McCall will be there to set things right and severely punish you several times over.

This is not a good movie – but that doesn’t mean that it’s not a good time.

There’s nothing particularly special about Siberia, but with a winning Keanu Reeves performance, it maintains enough moment-to-moment suspense that it just might be enough to satisfy moviegoers yearning for a throwback genre film.

In a film lacking in nuance, Mozdah brings needed depth to her performance.

This horror film lacks the freshness of its predecessor, but its bleak view on humanity and technology, as well as some truly unsettling ideas and visuals, still set it apart from most of its fellow studio genre fare.

There’s a delirious joy in watching this much action, this well executed at every level.