While Enola Holmes empowering feminist message might feel a little on the nose at times, the film, is nevertheless, a witty and endearing little bauble with terrific elan.

Rather than focusing on the specific aspects that make the film unique, Centigrade turns into a mishmash of genres.

Coup 53 is a live-wire thriller that is one of the best documentaries of the year.

It’s rare to see a comedy so devoted to pacing and so concerned with driving to a satisfying conclusion.

Feels Good Man is an intriguing look behind an online curtain that rarely gets pulled back, and is investigated critically even more infrequently. Slick animation graphics and well-paced interview testimonials bolster the effort and paint a very clear (if regrettable) picture of how art can sometimes get away from the artist.

Critical Thinking shows that Leguizamo makes a good teacher on screen and behind the camera –he’s telling a story that is truly inspiring and educational, but also revealing its relevance and keeping it fun.

An epic coming of age journey with scale and spectacle, and rousing heart, Mulan, is a triumph and essentially boils down to a wholehearted tale of feminine resolve, proving the boys wrong and making a father proud while being true to one’s self. That sounds a little simplistic, but Caro’s movie has surprising layers, of color, contour, and shade to shape her magnificent new empowering fairy tale.

The Mole Agent is a perfect film. From a technical and emotional viewpoint equally, The Mole Agent possesses no flaws. Yes, as with every documentary, manipulation is openly displayed and validity can always be questioned, but The Mole Agent dissuades any inkling of pessimism or negativity through its unabashed sincerity.

Besides its emotional texture, which will take you by surprise, more importantly, at the end of the day, Becky is a lot of enjoyably perverse fun.

There’s no room for introspection or difficult questions here. Antebellum therefore reads like the corporate spawn of “Black horror,” pieced together from Twitter anti-racist soundbites and crafted for maximum clout.

The conclusion of Bill & Ted Face the Music is pure corn, and by that point, they’ve earned it. It’s a film that’s somehow both offhand and meticulous, shaggy yet crisp, and the apparent joy of its creation is infectious. I laughed through a lot of it, and smiled through the rest. What a treat this movie is.

It is an old-fashioned case of vision overstepping budget constraints and unchecked creativity exceeding much-needed limitations.

Watching Russell Crowe as a genuinely frightening villain sounds entertaining, but the bitterness and contempt seething through “Unhinged” is repellant enough to make you want to shower afterward.

I’m Thinking of Ending Things is a weird, infinite, messy cacophony of reflections, somehow expansive in its narrowness and confrontational in its honesty to a soul-baring degree.

Tenet is, as breathless as it can feel in its best bits, ultimately, no more and no less than a consummately arranged film about a group of people who arrive, get the job done with enormous skill and at great expense, and leave.

Not surprisingly, Cut Throat City is a product of RZA’s voice, highlighting his social awareness and raw, deep, in-your-face delivery. What is surprising is how scattered the film is. Like a rapper without flow, Cut Throat City lacks the oomph to keep audiences engaged.

Project Power, especially from these “Catfish” and “Paranormal Activity” filmmakers ultimately feels like a big let down— a captivating idea about the way the system preys on the disadvantaged and the constant exploitation and appropriation of black and brown voices, that fizzles out fast once the high of its concept wears off.

Koltyarenko serves a bitter pill for viewers of his film, many of whom will likely see themselves as part of the solution to the problem of online radicalization by attempting to grapple with it in this film. The viewers are actually more part of the problem by tuning into Kurt’s stream in the first place.

While Trauki’s film may not go down in the pantheon of killer creature features, like the similarly themed “47 Meters Down: Uncaged,” it’s a lean and effective B movie.

D’Arcy wastes a very personal story on a standard-issue romance. It’s heartbreaking for all the wrong reasons.

Father, Soldier, Son doesn’t show bias toward the highs or the lows. Rather, it depicts Brian’s life as a mixture of love and loss, pain and recovery, birth, death, and rebirth. What emerges is an unforgettable portrait of a life in flux.

Actor turned director Dave Franco delivers the goods in his unsettling directorial debut, in this regard— a seemingly morally ambiguous thriller that doesn’t tell you whether you should be rooting for the innocents or the bad guys and seems to have things on its mind to say about trust, privilege, infidelity, privacy, surveillance and more.

Rebuilding Paradise reminds us that even after a razing, life will return and grow from under the ashes of destruction.

All this movie has to say is that David Ayer enjoys creating misery, and sharing it. What a repugnant, hateful piece of work this is.

An American Pickle is a most unexpected Seth Rogen film, maybe less funny than you hoped, but still charming, amusing, and far more considered than you would have ever thought.

A sledgehammer to religious hypocrisy, Retaliation uses symbolism to recreate, visually, the trauma a child endures when molested by a priest.

While not a complete portrait of Lightfoot, “If You Could Read My Mind” provides enough key insight into the musician to entertain those who are already fans and convert the others who perhaps haven’t heard of him.

An immigration story that manages to draw in themes about manhood, familial identity, and cultural preservation, director Matias Mariani has crafted a picture that speaks to a broader transient experience that transcends both time and place.