Chandor crafts a film in that contemplated vein of consequences, with a moral consideration for everything at stake, including the very souls of these soldiers, No one comes out clean.

It’s a consistent laugh out loud comedy with a big heart that should please all kinds of audiences (and the rare rom-com aimed at both women and men and not just either or). “Long Shot” isn’t your typical Seth Rogen stoner comedy (not that those aren’t great) and is all the better for it.

The hedonism on display is very much of a piece with “Trash Humpers” and “Spring Breakers,” but in a surprising change of pace for Korine, the film is more at ease with itself, and more emotional than either of those two provocative efforts.

“Sword of Truth” is full of seemingly effortless charms and quirks, but Shelton keeps it from overloading into full-on twee. This is a small film in every way: one that sometimes lacks precision, but its casual feel really works within its world and among its characters.

As a sleekly-directed, crowd-pleasing horror film, it’s efficient, terrifyingly thrilling and a lot of fun. It’s the kind of movie that will be discussed and debated for decades to come, and perhaps thirty years from now, as things continue to descend into utter chaos, Us will be looked back in retrospect as prophetic. As it stands now, it’s fascinating, a little maddening, and entertaining.

The Wind still checks enough of the right boxes to please horror fans; it’s creepy, features some gruesome images, and has a couple standout scares. This film also has its share of flaws; it’s held back by some pacing issues and weak performances.

The Aftermath is simply another period melodrama that knows exactly what it is, and that just isn’t quite enough, especially when one considers the leading star’s career oeuvre.

In short, Babylon is bland and sadly, should be much better.

These characters are undoubtedly supposed to be parodies of themselves, but their collective unrepentant narcissism broods more resentment than laughter. By the end of the feature, it’s hard not to cringe every time somebody talks.

Moreso than any other movie in the back half of Marvel’s first decade, it’s tough to shake the feeling that Captain Marvel is an extended prologue to a story that is still off on the horizon. This character has the potential to be Marvel’s answer to Superman, with all the questions about power and ethics that implies, but her story is rushed here, and sometimes forced.

It merits being counted as one of the decade’s best and most wildly original animated triumphs and one of this awards season’s most unforgivable snubs.

An interesting, original concept combined with solid acting and creative directing propel “Stray” and keep its audience invested throughout its tidy 81-minute run-time.

This is a rousing, essential viewing experience that reminds us of exactly what humanity is capable of when we work together toward a single, world-changing goal.

The primary factor permitting Styx to warrant any sort of recognition is inarguably Susanne Wolff’s dynamically subtle performance.

An interesting if somewhat incomplete horror thriller with decent performances, “The Changeover” is nevertheless hampered by a script that doesn’t seem to know how to connect all its narrative dots.

While Dragon 3 suffers from the absence of a strong plot, poignant stakes, and narrative thrust, it’s still a story that most audiences will find something to connect with. It’s a fitting end for the Hiccup and Toothless’ story and How to Train Your Dragon 3 is mostly fantastical escapism that packs an emotional wallop.

The intimacy that Herbert attains with the kids and the respect that she affords them prevents the film from ever seeming exploitative of their lives and hardships and rather gives it a thorough sense of empathy.

Unfocused and unpolished, “Le Concours” might’ve been fared better if one of the prospective students picked up the camera instead.

The Plagiarists is a fantastic idea that is irredeemably marred by poor execution. There is a genuine sensation of effort on screen and a select few of the ideas the film touches upon are outright brilliant, but the product still falls remarkably flat.

Light of my Life is not a bad film, instead it’s a heartfelt, intelligent and earnest one (if a little tidy).

There are moments of joy and humor throughout, and the film insists on feeling those emotions, just as much as it does grief.

Combined with a narrative with a more defined ending, this darker tone suits Sang-soo’s minor-key ruminations, injecting more tension and pathos into his trademark conversations.

Alita lays out her empathetic groundwork early and rarely diverges from it. How wonderful to have a hero that always follows through with what she fights for. How wonderful to have a blockbuster that aspires for so much and mostly delivers on those ambitions.

It pokes fun at falling in love on screen, but it’s smart and sweet enough make us fall for it as well.

Melancholy in shape, but still hopeful, Crosby’s willingness to bare naked his personal struggles on-camera makes for a truly poignant movie.

Landon uses this winning sequel opportunity to not merely redo his refreshingly animated original film but challenge it— building upon its kooky, evergreen foundation and expand the story in scope, scale, genre, and tone.

Wang’s film is intimate, thought-provoking and well-crafted. It condemns the horrors of the policy without condemning those who were brainwashed into being its vessels, and it gives voice to so many families whose agency was stolen from them.

Brügger’s movie plays mostly like a real-time thriller, to be honest, but whatever hybrid of non-fiction you want to categorize Cold Case Hammarskjöld, it’s nothing short of groundbreaking.