Despite this disappointing effort, Diao continues to impress with the clever use of his camera. Now, one just wishes he could find the substance to pull all this style together in a winning fashion.

Taylor’s film only really works if you turn off the rational part of your brain, which isn’t fully developed until you’re in your 20s anyway. If you can ignore the plot holes and gaps in logic, Ma is a fun, dumb time at the movies.

A flimsy, unremarkable story of obsession.

Sure, Godzilla: King of the Monsters fulfills its promise of Titans and destruction, but at the cost of the plot, characters, and emotional investment. You know, the things that actually make a film good.

The film’s half-hearted politics — which do make a statement, regardless of intent — are perhaps less egregious than a movie that’s simply going through the motions for the bulk of its running time.

His film feels more like a collection of wonderfully envisioned set pieces that don’t fully form a coherent whole.

In Bed with Victoria is buoyed by irresistible performances on the part of the titular lead (Virginie Efira) and inevitable romantic interest Sam (Vincent Lacoste). It is their turns that imbue the film with its energy, even if its generic formula and social milieu is at times too familiar.

As a policier, Oh Mercy! is an affectionate homage to crime cinema but also an engaging variation on the genre’s tropes.

Mektoub, My Love: Intermezzo begins to feel like a human rights violation ... It’s almost impossible to stress how unpleasant this moviegoing experience was, to the point where it’s difficult to imagine a human being making this movie and considering it art.

Unfortunately, “Tommaso” is far more navel-gazing and long-winded than intimate, in as much of a creative funk as its protagonist.

There’s something frustrating about Noé’s approach, but also an undefinably admirable quality to the extremity of his showmanship.

A handsome production and ambitious in scale, the impact of The Traitor is muted by the familiarity of its well-worn tropes.

The film’s dialogue is exceptional.

Meandering ... The film somehow lacks the structural cogency necessary to support a compelling narrative, while also encompassing enough discernible plot conventions to reveal a screenwriter’s meddling.

In its refusal to bend to unrealistic notions of escape, Joy is a bravely dark movie.

A demented and often-uproarious class-conscious satire, Parasite falls slightly short of Bong’s greatest work.

While not quite arriving at the delirious cult highs of a classic like “Ichi the Killer,” “First Love” is Miike’s most accessible work in years.

Either this movie was made due to one of the most humongous creative blind spots in all of filmmaking, or it was made because in this, the year 2019, there are still people who believe that eroticized, lightened-up rape scenes are not only permissable – they are empowering.

The film is a gem, especially for anyone yearning for a superhero film that gleefully torches the familiar “good versus evil” formula and introduces far more sinister sensibilities.

Aladdin is at its best when it ventures out to form its own interpretation and while not all of the choices necessarily work, it is refreshing to see Ritchie and the ensemble attempt a genuine reimagining.

Having never been entirely won over by the clever-clever period genre revisionism that has been Tarantino’s mainstay since Bill was killed, I was delighted — after all the lurid what-if speculation over the film’s relationship to the Charles Manson story — to find that his latest is, in such large part, a kind of gorgeously lacquered megabudget hangout movie.

This comedic thriller is witty and diverting without selling out on the Romanian reputation of thoughtful, challenging work.

With its capable cast and sterile aesthetic in tow, “Little Joe” commands the bleak futurism of a “Black Mirror” episode, yet with slightly more muted drama.

Absent from Young Ahmed is the frenetic urgency that defines the directors’ greatest work, replaced here by the titular character’s unshakable tunnel vision.

Kapadia’s tight focus and compelling viewpoint make “Diego Maradona” a must-see for soccer fans, and certainly a biographical doc of interest to wider audiences.

Ly makes it hard to paint these characters in broad strokes, no matter how we might try.

In short, the driving factor of Covino’s relentlessly funny, affecting comedy is neither cinematographic ingenuity, nor its tongue-in-cheek facetiousness, though these elements surely help. No, what’s most persuasive about Kyle and Mike is, simply put, Kyle and Mike themselves.

Sciamma ... has a magnificent capability for elegant prose that wouldn’t feel out of place in a classic novel, the kind of dialogue that simmers long after it is spoken.