As a film, it shuffles around, shouting out the one thing it’s desperate for: ‘Purpose!’

Daniel tells Natasha of his elements for falling in love, “My ingredients are friendship, chemistry, the X factor,” and he assures her that they have that last one. But that’s what The Sun Is Also a Star lacks: that ineffable quality that makes it work. Though we spend nearly two hours in its presence, it never makes us fall in love with it, despite its best efforts.

Despite a tone that oscillates between quirkish and mawkish, it’s yet another warmed-over male midlife crisis movie, given supposedly higher stakes because the middle of life will be as far as this male will get.

While the overwrought dialogue does test attention spans, its prevailing message — humanity is malignant and inherently wicked— and the hint of something more cryptic makes Passon’s film beautifully disturbing.

John Wick: Chapter 3 – Parabellum is a sure-fire hit and continues the momentum set forth by the previous installments only to surpass them with explosive energy.

The Hustle is profoundly stupid and it treats its audience as though they’re even less intelligent than it is.

A thin but heartfelt piece of work ... But with Ferrara content to let his subject mostly drive the show and not impose more of an authorial vision and context that could have created a grander narrative about the history of moviegoing in New York, the passion is missing.

You absolutely want to hang out with these charming, amusing women off-screen, but the time spent with their on-screen counterparts isn’t nearly as fun as you’d hope.

The restraint with which Youmans characterizes is refreshing, but the performances can also feel diminished by inscrutable elements, whether that’s missing narrative context or simply parts of scenes that are simply hard to see or hear entirely. Still, Burning Cane would be an impressive debut at any age, showing a distinct style, a suggestive eye for setting and detail, and an admirable willingness to experiment.

Beyond the strength of the visuals, there’s promise in the young cast that you see glimpses of here. ... However, it’s never enough to make “Gully” worth watching. Its raw, gritty approach feels like an effort from the filmmakers, but it’s mostly work for the audience to endure.

A noir-ish melodrama so oversaturated with dourness that it borders on parody.

Equal parts choppy and charming, “See You Yesterday” has trouble balancing quirk and melodrama.

Despite its flaws, it goes down easy and guiltlessly, like cheap champagne.

Lyrical, emotional, and intuitive, but also meandering in its ephemeral flitting from reality to the imaginary world.

There aren’t enough synonyms for the word courage to do Sasha Neulinger’s story real justice. Rewind, is simply an astounding movie and a milestone in psychiatrically minded filmmaking.

And while it’s a difficult sit sometimes, “17 Blocks” is essential viewing for anyone interested in how the confluence of race and class have codified into a sort of informal caste for an entire subsection of America’s citizenry.

Thankfully, ‘Recorder’ salvages its lack of narrative control with enough emotional weight to earn its memorability.

A staggering accomplishment in its storytelling, visuals, and performance.

[A] bland, sometimes dull film ... Those unfamiliar with the history of the Manson Family murders won’t gain any real understanding of the crimes or the character of those who committed them, while those who know the details won’t get any new insights into it either.

Detective Pikachu is a fun, occasionally-funny, and almost always-beautiful to look at kids adventure film that doesn’t insult the intelligence of its audience and offers them great, positive lessons that are earned.

The Intruder is a blunt but effective instrument. This thriller lacks subtlety and craft, but it succeeds at what it’s intending to do: keep the audience stress-eating popcorn for 100 minutes and leave entirely satisfied with the experience they just had. It’s not a good movie, but boy, is it fun.

Gentle but sharply observed, Good Posture is an uncommon cinematic look at an intergenerational female relationship.

Come To Daddy is definitely not going to be everyone’s cup of tea. ... Provocative and ballsy ... [the film] doesn’t give a shit if you like it and perhaps even dares some audiences to sit through it unfettered. Ultimately, it knows that those who stay are on its weirdo wavelength and are in for something insanely entertaining.

All thanks to Herzog’s keen eye at having a continuous fluid flow to the story and his subject’s willingness to lay bare in front of an audience, this is one of the most important documentaries of the year because it still feels fresh and relevant to our times.

It falls flat. There are a variety of reasons — one-note characters, an overly-familiar story arc, a laughable sequence of bee heroism (!). (Alternate title idea: “Secrets and Hives.”) Still, there is the work of Grainger and Paquin.... They make Tell It to the Bees watchable, and are worthy of high praise.

This is a filmmaker in total command of every visual element — his compositions more compelling than ever, the production design almost verging on steampunk, and a special mention has to go to the extraordinary costumes — but it doesn’t feel stifling or precious either.

And to say that directors Joe and Anthony Russo fulfilled the promise set by last year’s blockbuster, and the 22-film MCU story arc, is a gross understatement. The directing duo has really outdone themselves with this one. It’s just that outdoing themselves comes with some consequences.

Save for an overdependence on neon lighting, a general misunderstanding of how entertainment journalism works, and perhaps more alcohol consumption than is responsible for a film sure to be watched by teen girls and young women, Someone Great is a heartfelt and hilarious first feature with ample female talent.