Reminds those of us in similar situations that these painful paths are well traveled, and that the outward success we think might fill the holes in our souls usually turns out to be an excuse to push ourselves even harder. That’s why we cry sometimes when we’re lying in beds, just to get it all out, what’s in our heads.

A cheeseburger on Amazon Prime’s value menu, but they left out the cheese. And the meat.

Christina Milian and Devale Ellis are adorable. That’s the whole movie in a nutshell. Nothing else has to work in order to get what we need out of it. Pentatonix can’t even play themselves convincingly, at all, and it still doesn’t hurt this thing.

It’s a movie about the forces that consume anything and everything to make them into something that is a part of a collective. The more it expands on this, the better it gets, sweeping you up in stunning visuals that swallow you whole.

Delpy’s balancing act is an admirable and often effective one.

It’s that rare action movie that succeeds because it’s challenging and intriguing, which is a nice way of saying that maybe it could have kicked slightly more ass.

It’s a film with potent ideas, inner conflict, historical imagination, dramatic challenge, queer power, human fragility, humor, sex, pathos. It’s hard to pin down exactly what makes it great, and that’s what makes it great. There’s so much to its muchness that the veneer can hardly contain it, not unlike Taffeta themself.

Better Go Mad in the Wild is transcendent not because of big speeches or underlined ideas, but because of how it lets us sit back and watch two people, both flawed, funny and deeply human, struggle through another day.

The film may be unbridled, unfettered and bold, but sometimes those adjectives aren’t complimentary.

The writing is frequently darkly playful, the direction measured and the performances all completely committed, ensuring the portrait of a family in crisis holds together just as they may all split apart.

Colin Minihan knows how to make a gnarly horror film.

It’s a playground for the filmmakers and audience alike, a fantastical space where anything can happen, whether it’s silly or badass or both.

Some movies are movies. Other movies are cocoa. A Merry Little Ex-Mas is the latter.

Not Without Hope never completely comes together but when it works, it’s absorbing disaster filmmaking."

It scrolls past thoughtful ideas, too quickly to fully process them, and the experience is as cacophonous as the typical social media feed. I’ll grant you it’s thematically appropriate but it’s not cohesive filmmaking.

A frequently stunning work of animation that’s also a haunting portrait of isolation, the destructive insidiousness of bullying and our own capacity for cruelty, Kohei Kadowaki’s formidable feature debut “We Are Aliens” is a film of fascinating layers.