Flawed but still engaging, “The Kitchen,” at least, has good intentions about togetherness and brotherhood and is a promising debut for Kaluuya and Tavares.

While “Frida” does show signs of promise, especially when it leans into the distinctive, and Kahlo’s penchant for magical realism, it’s never as vibrant as her. One wishes the doc could similarly unshackle itself, match the artist’s radiant spirit, and push itself into the next innovative frontier.

Revenge is often described as a dish best served cold, but with the way Mayhem! draws audiences into its compelling story, this film is white hot, and reminds audiences why revenge is on the menu in the first place.

Ambitious, impressive, and genuine, with a great sense of vast scale and awe, as its title suggests, Society Of Snow is not only a three-dimensional cinematic feat of wonder, terror, and emotion-stirring courage but a deeply felt portrait of togetherness, brotherhood, and survival, poignantly commemorating the painful memory of indescribable loss and tragedy.

Good Grief arguably doesn’t quite get there in the end, but there is a promising sense of possibility for what the future could hold for Levy as a filmmaker next.

Leave The World Behind isn’t as perfect as its best-written moments —the ones that are somehow expertly frightening, funny, stressful, and cleverly observational, all at the same time—and the movie even f*cks up its Chekov’s gun tease. But as a wicked, playful, tension-filled, and alarming treatise on humanity, its deep flaws, and how fragile, questionable, scattered, and thus vulnerable we are to attack?

James Wan has delivered. Don’t be fooled by the diminished fanfare because his good work should not go unappreciated.

“Rebel Moon” is nearly unwatchable and one of the most stunning misfires of this scale in quite some time.

[Clooney's] out-of-current-fashion movies can feel quaint in some ways, but more power to the filmmaker who can make whatever the hell they want and do it well and do so on their own terms.

It’s hard not to smile as Chicken Run: Dawn of the Nugget wraps things up, even if said smile comes unexpectedly; admittedly, this is the sort of surprising delight that serves to both remind an audience why the original remains such a gem while acting as a worthy successor.

Knock Helgeland’s unpersuasive plot, his broad writing platitudes, and some of the more ridiculous twists of the genre all you want, but the filmmaker at least seems to know, understand, and capture the milieu and people of these communities. Sure, that’s not enough to save Finestkind, but there is something there.

The movie has its issues. . . The wrestling though? The action in the ring? Durkin’s direction of those classic matches? It often looks more “real” than the WWE or professional wrestling you see on television today.

It is a delightful experience to embrace Wonka with the wide-eyed wonder it deserves.

When given the space to explore the knottiness of being a gay man in a world taking but tentative steps toward recognizing the community’s full humanity, Luke Evans provides the complex representation that audiences are craving.

The effort deserves a nod, but the execution stumbles, falls, and, whether intentional or not, can’t be saved.

It’s weird to want to rein in the sensibilities of any comedian, especially when their proclivities lean towards the farcical and ridiculous; there is a palpable joy that emanates from their collective weirdness. Sadly, little of it translates into a laugh beyond a guffaw and most of it is empty.

While Liebmann steals the show here, what Wagner realizes with his film is every bit as impressive. The writer-director’s script and steady hand behind the camera breathe life into a bracing, heartbreaking, and ultimately reaffirming picture.

Napoleon is one of the handful of movies this year that benefits from being seen on a big screen. It’s an epic crowd-pleaser with a stellar cast who deliver top-notch performances and Scott’s best work since “The Martian.”

It’s a film that not only works as a self-reflective biography and community portrait but also as a testament to the living nature of literature, where a work is able to be interpreted and reinterpreted by the generations to come.

It’s a solid, aspirant crowd-pleaser that may not reinvent the wheel, but it proudly boasts a good enough set of them and confidently stays on the tracks.

It’s a powerful, infuriating document of a family’s resilience in the face of massive communal pressure and to the notion that these types of small, necessary shifts can add up.

Perhaps it’s the fact that the first 45 minutes of “When Evil Lurks” is so great, but the dopamine rush does fade quite a bit in the second half of the film.

While other directors make grand gestures about societal inequities, dating themselves with their stories and form, Jude is happy to launch a Molotov cocktail at everything that came before him. He is one of the freest filmmakers working right now—unencumbered by rules, politesse, or good taste. Contemporary malaise has rarely been captured on screen with such thrilling vividness as in Do Not Expect Too Much From The End Of The World.

Maybe Evolution, more a scratchpad of half-developed doodles than a feature, will be an expiation of sorts for both Mundruczó and Weber, and better, subtler ideas will prevail in future.

This is as middle-of-the-road as it gets, something no one will remember minutes after it wraps and, for this reason, will likely prompt very few to express anything overwhelmingly negative or the opposite.

“You Have to See It to Believe It” is a well-worn movie cliché, but trust that it applies to this utterly bananas corporeal bath of cinema in all its glorious sound and vision. As the film ratchets up to its batshit, gnarly, and beautifully mutilated conclusion, man, prepare yourself for how transgressive and hypnagogic it gets.

As an intriguing and complex portrait of humanism vs. idealism (to be civil about it), there’s also a fine line between faith and madness, and to their credit, The Mission filmmakers leave it up to the audience to decide where they stand; perhaps the sign of sharp filmmakers hoping to leave their viewer hashing it out for hours afterward (something that doc certainly engenders).

Make no mistake, most audiences will find ‘Believer’ revolting, but that’s also the point. It’s fascinating in the way it swings for the fences, is full of conviction, and is overflowing with stimulating ideas about acceptance, denial, community, and more, many of them engaging, many of them handled with no sense of taste (to which Green would probably argue is what Friedkin’s film did; good taste be cast out!).