Past Lives shows that living in what-ifs is not good. Instead, it’s important to be grateful for our time with people, even if it’s not forever.

The new film most directly recalls “Enough Said,” Louis-Dreyfus and Holfocener’s collaboration of a decade ago, which also concerned the Louis-Dreyfus character hearing things she shouldn’t. This film doesn’t quite measure up to that one — Jeffrey Waldon’s cinematography is oddly murky, and Menzies can’t provide the strong counterpoint James Gandolfini did. But it’s nevertheless smart, warm, and very, very funny.

Barthes’ screenplay is clean; for the most part, it’s brainy but not didactic, and thoughtful but not dull.

Run Rabbit Run does nothing to transcend its influences, finds nothing insightful to say about the various familial relationships its fails to explore, traps its talented cast in unmemorable characters, and — worst of all for a horror film — contains no scenes that are truly chilling and or any imagery that will stick in the viewer’s mind once the film is over.

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.

Murphy and Hill do lift the film often, the former being wryly sarcastic and meanspirited but cool, the latter finding much comedy in being overly vulnerable, earnest, and painfully sincere. But otherwise, this comedy has no safe spaces for anything resembling authentic human behavior, the kind that anchors comedy to feature truths that make laughs all the more lacerating.

This is a movie that barely speaks above a whisper, even when its characters are howling in pain inside.

Even though a large part of the film underlines information already known and documented, Liman works overtime in piecing them together into a competent argument that illustrates for viewers — in vivid detail — just how conveniently all of it was overlooked.

Domont’s script just turns into a series of victories, defeats, increasingly distracting narrative leaps, and ultimately silly turns of tone that seem designed to provoke whoops and sneers and cheers.

It’s still worthwhile to consider the post-#MeToo ideas that Cat Person throws at the wall around notions like empathy, consent, and the vitality of crystal-clear communication and see what sticks. What you will end up with might look like a messy artifact, but one that will at least rattle in ways both witty and provocative.

Infinity Pool is the kind of film that reminds you that sometimes, the best thing a filmmaker can do is take you to places you would never dream of heading without apologizing for any of it.

An astute and fright-filled story, ‘Aum’ is limited by the unknowability of its subjects, registering as a spooky echo from a distant era.

Magazine Dreams, even with some shortcomings, is dense, deftly composed, yet oddly overbearing. It’s uncomfortable and conflicting and may even prove divisive. And it’s unquestionably unforgettable.

Cassandro isn’t here to cover every moment of Armendáriz’s life. And there are storylines, especially with his father, that neither Williams or his co-screenwriter, David Teague, can bring to a satisfying conclusion. But as a portrait of a man finding himself in his profession? Of celebrating his true self? It’s extraordinary.

Like Searching, Missing has something tenuous it wants to say underneath its shocking mystery about viral social media culture and the true crime craze; how our social media culture is too prone to exploiting real peoples’ pain for clout and consumption. But if there was an inkling of profundity in this regard in Searching, there’s none of it to be found in Missing, which functions more like a direct copy of true crime rather than an interrogation of it.

Somewhere within these two hours is a lean-90-minute action film that is only interested in violence and gore. Project Wolf Hunting may occasionally get bogged down in its own mythology-building, but once the kills start piling up, it’s easy to get lost in the mayhem.

Unfortunately, memorable moments are few and far between here, and those are mostly spoiled by the film’s trailer.

In finding humor, pathos, and beauty in such a complicated subject matter, Ohs and company deliver a sunbaked ghost story that should stand the test of time.

It’s undeniably impressive that such a tiny movie has garnered such a reputation. Ball has made an interesting attempt here, and it will be exciting to see what he does with a little more money and, hopefully, restraint. In the meantime, unless you want to tirelessly search “Skinamarink” for creepiness in all this filmmaking fog, you’re likely to find there’s very little there there.

The blunt examination of COVID ideologies is ingenious, though difficult to fully unpack without giving away the third act, but it’s the filmmaking’s ruthlessness that’ll catch in your mind.

Consider this an entertaining popcorn movie to start the year off right, and as Gerard Butler actioners go, a solid mid-tier production.

Unfortunately, a solid premise and an appealing cast get bogged down in The Drop, and the film ends ups dropping the ball—and the baby.

This Place Rules is a cracked funhouse mirror of conspiracy brain rot and uniquely American surreality. We very much doubt you’ll see another documentary like it anytime soon.

M3GAN locates the horror and hilarity lurking barely beneath the surface of our screen-addled society.

Panahi does not paint himself and his practice in a kind or perfectly innocent light here. However, his ability to still clearly identify who the real culprits are is an inspiring testament to his clear-mindedness and his unshaken ability to imagine a better, more just world.

It’s rare that we need two of essentially the same film, rarer than rare, but “A Man Called Otto” has earned a space in the list of worthy remakes for its big heart and emotionally charged performances that don’t skimp on the comedy.

If you’re down for a wild ride and a spectacle, this is a beautiful, confident, and big-hearted experience that is way better than it needs to be and more than does justice to the legacy of Dahl’s creation.

“Walls” is more like a Wikipedia entry— the hyperlinked names appear, and the key events are noted, but there’s not much in the way of genuine insight.