There should be more films like Fast Color. Movies that demonstrate that you don’t need a giant budget or decades of established IP to do superhero or sci-fi well on the big screen.

Unfortunately, the peripheral factors worth championing are not enough to save the film from being a routine slasher, with an unremarkable mystery at the center, that puts its prescient anti-bullying message first and genre second, making Thriller feel a bit like a chore.

You might not feel the need to attend church this Sunday after the credits roll, but don’t be surprised if you find yourself praying for your time back.

Wild Nights with Emily feels at once revelatory and a total delight, a surprise for both for literature geeks and those who didn’t do their required reading in school.

In the end, Hellboy is a juvenile delinquent you want to slap and a colossal mess that damages the brand, the character and probably breaks the heart of its more well-intentioned cinematic forbearers.

Little is a blast, but it’s a shame that it’s not a better movie.

The Best of Enemies has good intentions, and some potent things to say, but its novice direction and limited perspective fail it from becoming anything other than this season’s Green Book.

It’s the kind of movie you sit on, but then can’t wait to revisit. Suburban Birds is a rewarding and revelatory first feature from a fresh artistic voice.

Farrands proves he’s no Tobe Hooper, but he might not even be Tom Six. What he ultimately crafts is a terribly foolish movie featuring wooden acting, a disgusting premise, and none of the redeeming qualities that even the most repellant exploitation schlock film might offer. Stay away at all costs.

Amazing Grace is a showcase of one of America’s greatest talents and a rush of pure spiritual uplift. There are only so many ways to praise Franklin’s voice and they all fall short – just go and hear it for yourself.

The film is not meaningless, or even trifling, but, Stockholm never rises above mediocre, and that is what hurts the most.

Even though The Public ultimately doesn’t come together as a dramatic piece, particularly in the hammy climax, it does take some impressive chances. Just making a story about the invisible homeless is a brave move to start—audiences tend not to like stories about intractable issues, after all.

Missing Link is a fun, if uneventful and uninspired, trip, but at least it won’t annoy the parents who are along for its fast-paced ride.

There is an unassuming languidness to Ljubomir Stefanov and Tamara Kotevska’s anthropologic documentary about a rural Macedonian beekeeper, “Honeyland.” It’s a quiet and passive film that’s content to luxuriate in place and revel in solitude, which, in turn, both drags the narrative’s loose pacing and instills a certain natural structure that, once embraced, becomes almost mesmerizing.

A magnificent, tight exploration of romance and what it means to walk that path wearing blinders. Most people have done this at one point or another, and Silver’s triumph is that he’s crafted a film that puts his audience both inside of this, but also at a distance where it can be appreciated.

Phantom Cowboys is a stylish treat for viewers who enjoy meditative cinema. As an enrapturing stroll down the dusty backroad pathways and flame-covered grassland that comprise a country, the documentary manages to offer an invigorating perspective on the United States by exploring the day-to-day lives of the unseen.

Shazam! is carried aloft by an exuberant performance by Zachary Levi as the title character, all muscles and wide-eyed naïveté.

Beyond Dumbo’s cuteness (which was so overwhelming that I now want a baby elephant for a pet, which is surely not the point of the film) and Keaton’s perfectly over-the-top performance, there’s little to latch on to in this Disney film. It throws so much at the audience that nothing really sticks, leaving such a small impression for such a big movie.

The award-winning filmmaker is a one-woman crew on the project, and Klayman’s tenacious fly on the wall, verité approach illuminates the cynical limitations of Bannon’s cruel human worldview through day-to-day contradictions, far more than an interview-style documentary where such a figure is given a platform to talk in circles ever possibly could.

Above all, Tigerland pays respects to that awe-inspiring creature at its core.

Sober, unflinching and fits perfectly with the current political movements such as #MeToo and #TimesUp.

Cousins’ new doc will undoubtedly be essential viewing for a sea of cinephiles, but it might not easily capture the attention of audiences less familiar with Welles’ legacy.

As a simultaneous introduction and farewell, An Elephant Sitting Still might be one of the best movies that you will only watch once, but won’t ever completely leave your mind.

The Dirt is ultimately supposed to be an unapologetic tribute to living the fast life, but in the end, it’s just painfully dated and pointless with zero depth or insights.

It’s always dangerous to wonder about what a film might have been rather than contending with what it is, but in this case what it is, is so bland, and so stolidly workmanlike in execution that even the most dedicated viewer might find her attention sliding off DP Zac Nicholson‘s ration-book-colored images and wandering to the what-ifs.

It’s not a bad film, by any means, as there are definitely worse action movies to spend 90 minutes with. Yet, there are so many other, better, martial art films out there, with many including at least one actor from this film.

Villains is wacky off the walls fun and it constructs a solid sandbox for its actors to play in and deliver four colorfully captivating performances about the shades and degrees of human wickedness.

With a popular subject, and some downright corny visual devices, The Inventor doesn’t knock it out of the park as neatly as some of Gibney’s other works. Still, it’s a worthwhile and damn entertaining addition to the developing Elizabeth Holmes canon that makes up for its flaws with undeniable watchability.