It’s technically impressive and faulty in equal measure, expunging most of the substance in favor of occasionally effective, but mostly cheap, scares.

Oscillating between traditional documentary and experimental, subjective attempts to capture what it’s like to be impaired, Evans creates a moderately successful portrait of, what the film references as, the space between seeing and not.

"Well Groomed" is not revolutionary cinema by any means, but it certainly is enjoyable; and sometimes, an adorable documentary about competitive creative dog grooming is exactly what you need.

The story as a whole, doesn’t quite click.

Elba’s debut doesn’t belong to the upper echelon of films from well-known actors stepping behind the camera – it holds your attention, but it’s never as gripping as the material should be.

Though “Pink Wall” rarely breaks new ground in its focus on the evolution of a couple’s relationship, Cullen’s truly raw, intimate approach helps it feel fresher than it might have otherwise.

What keeps the film mostly on track is its proudly confrontational nature, quick-witted dialogue, and performances to match. But it’s a dark, sobering film too—the corruption, dishonesty and immoral law enforcement practices employed to screw over expendable brown and black people is depressingly distressing and it’s here where “The Day Shall Come” has trouble sealing the deal on its uncomfortable remit of awkward laughs and somber realities.

“Boyz in the Wood” is a jolt of irreverent fun that wants you to laugh at the stupid and depraved behavior of teenage boys but also to know that at the end of the day, the kids will be all right.

On paper, Five Feet Apart has all of the components to fit squarely into the sub-genre of films that have come before it. In execution, the teen romance never packs the emotional wallop it so obviously, self-satisfyingly, believes it does.

A halfway interesting story with a few too many ideas and a lack of tonal cohesion.

It’s easy to admire Green’s decision to tell a personal story that came from the heart, but the end result is, unfortunately, something a little flat, unremarkable and it’s only Ethan Hawke’s terrifically empathetic performance that makes this long and listless journey feel like it’s a road worth taking.

“Everybody’s Everything” is a loving tribute for fans as well as those unfamiliar. And for the latter, the doc truly creates a sense of humanity, awe, and undeniable raw talent that it makes it easy to why his music connected with so many people in such a quick amount time.

By keeping the humor rooted in the performances and only letting sentimentality creep in when necessary, Nelson and Schwartz have crafted a film that feels refreshing, unique, and emotional.

It is a little peculiar as to who the audience for “Good Boys” is exactly. It’s too vulgar for kids who are the age of the film’s characters, and while an adult audience will likely find much to admire and potentially even teach their kids, some of the film’s more sophomoric elements could get a little grating.

As it stands now, The Highwaymen arguably does just enough legwork to justify its existence, but good luck enduring it.

A radically inspired, hyper-fresh, and even slightly overcooked take on the high school teen comedy... “Booksmart” is something just shy of a sensational masterpiece and miracle.

While slight, yet accurate in his thesis, Stearns does what any good filmmaker should do to make that message stick: he makes us laugh.

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.