With exquisite costume design, cinematography and a talented supporting cast, there’s plenty to admire in Seberg. However, the film’s sprawling and unwieldy narrative is ultimately what hinders it, leaving a drama that focuses in on a single person somehow feeling shallow and impersonal.

Zellweger’s poise and presence make the entire affair more than worthwhile.

Uncut Gems is an insane ride with no respite that will grind your senses down to their last nerve.

In amongst Joker’s fire and blood and chaos and its blackest of blackhearted laughter, there is the sense of a grotesque, green-haired genie being let out of a bottle, and whether it wreaks havoc or not, we’re not going to be able to put it back in.

When Shults soars under this structure, he composes some brilliant moments. When he falters, it seems like the movie doesn’t know where to go or when to end (if it even wants to).

It’s a middling historical drama, finely crafted and ever so slightly stodgy in spite of a compelling last act.

It tells a lot of great stories and illuminates a city-wide tragedy, but given all the heartbreaking and enraging stories within, one wishes Decade Of Fire could emotionally sear and rage just as well as it educates.

Kim’s film is a compassionate piece on interpersonal connection that’ll touch your heart when it’s at its most vulnerable

Ford v Ferrari is the sort of cinematic entertainment that sucks you in and won’t let you go until you cross the finish line.

Before You Know It packs a lot of character development into 98 minutes. By the film’s end, tears are shed (perhaps including yours, the audience member’s), jealousies uncorked, and secrets aired – but while each player has their disparate arc, they defy contrivance.

Melding the anxiety of the unknown and the fear of who we truly are in our core, all that we try and compartmentalize emotionally as human beings, Gray crafts a movie that is deeply personal, thought-provoking, and thrilling.

Baumbach pulls no punches, and exhumes a personal calamity, most people wouldn’t have the stomach to sift through again. It’s wrenching stuff to be sure, but it’s also excruciatingly funny, loaded with empathy, compassion, and understanding too, featuring outstanding performances from its leads, Driver and Scarlett Johansson.

There’s the potential for melodrama, but despite the misleadingly grandiose title, The Truth is not in the business of the grand, tormented revelation. Instead, it’s an accretion of little moments, often very funny, sometimes a little sad, but always embedded in the reality of these sharply drawn, idiosyncratic characters.

The work is emotionally instructive but thematically unfocused. Despite having a fascinating story to tell and some illuminating subjects, American Factory comes off as slightly over-zealous, educationally speaking, and is without a manageable sense of moral edification as an observational documentary.

Aquarela is truly a theatrical experience that benefits from the dark, distraction-free nature of the theater, in which the cycles of water, from frozen lakes to hurricanes, becomes an all-consuming force.

At its heart, the film tells an incredibly touching – and altogether unexpected – human story. Entertaining and educational in equal parts, Simó’s animated film is one you don’t want to skip.

Try as the filmmakers do to conjure a restorative kind of magic in its searching, yearning storyline of renewal, they are not able to come up with much more than a limping comedy about a woman with all-too-easily-explained mental issues.

Angry Birds Movie 2 fills the screen with flashy characters, appealing set pieces and a voice cast filled with lively voices.

Similar to the cringeworthy performance art that wraps itself around the core of the film, This Is Not Berlin is emotionally hollow, more than a bit confused, and regrettably forgettable.

Because we’re living in the worst timeline, these actors and concept are wasted in a movie that lacks spark, flavor, spice, and generally anything that generates or even resembles substantive heat.

Overall, despite a few profound explosions of emotion, the remake is more tonally overbearing than it is dramatically rewarding.

Shadyac’s movie may ask difficult questions about the ills that society grapples with today, but it tackles them in a shallow, facile, sometimes uncomfortably out of touch manner.

Love, Antosha isn’t revelatory in its treatment of Yelchin’s life and career but it profoundly serves as a reminder of just how talented he was, and further reinforces the fact that he was just beginning to burgeon as a creative force.

Tel Aviv on Fire is a summer gem unlike any other you will see this year–an invitation to laugh at a world in decline.

Possibly led by nobler intentions, the Israeli writer-director ends up cashing in on the mettle of those involved in a bold rescue mission, tweaking a terrifying reality until it resembles little more than a banal thriller.

Making the plunge into full-on Saturday Morning cartoon territory with its ludicrous over-the-top-ness, Hobbs & Shaw is a quippy, explosively kick-ass, utterly preposterous buddy romp that injects some much-needed nitrous oxide into an otherwise stale summer movie season.

Similar to RGB, Raise Hell preaches to the small choir that adored Ivins, but this documentary sings a beautiful new psalm that will reach new disciples and renew the follower faith like a tent revival.

With the bar for breakout genre flicks being set so high in recent years, one can’t help but feel that Radio Silence is capable of something more substantial and memorable in its craft. Like most of Grace and Alex’s wedding gifts, Ready or Not is certainly diverting but hardly essential.