Austin Peters’ Skincare knows exactly what it’s doing, balancing a sense of total desperation with just enough camp to convey its nightmarish situations without ruining your day.

Although The Instigators can at times feel like a Coen Brothers movie without the polish, there’s enough charm and energy flowing through Doug Liman’s picture to keep the film humming.

By the end, a part of the experience makes one wonder what sharper point Kravitz is trying to make beyond the obvious ones — and it’s clear she wants to say something — while another part simply wants to lean into the audacious experiment she’s crafted. One where the film’s tart bite is remarkably thrilling, even if there’s some hollowness to its center.

In Álvarez’s final flourish, the film finally forges its own identity, pushing the franchise into a territory that it has yet to go in before. It might not stick the landing — and in some ways it feels altogether silly — but the twist plays so well into the gloriously indulgent mashup play that the film runs on that, by then, you’re just happy to be on the rollercoaster ride.

Despite the fundamental problems with any 'Watchmen' adaptation, and the serviceable but not entirely effective visual aesthetic, 'Chapter 1' does a respectable job of retelling this story.

All the edges have been sanded down so it can be safe and mainstream, but they went too far and there’s almost nothing left. It’s technically a movie based on 'Borderlands.' Not much else.

Rob Peace isn’t the story of an “Ivy League drug dealer”; it’s the story of a human being who deserved way better than what society gave him.

Doesn’t have the depth of Shyamalan’s most important films or the theatricality of his most memorably weird experiments. But it’s one of his best thrillers.

Part throwback, part update and a little bit creaky, it’s all-in-all an excellent showcase of Izzard’s wonderful talents.

It’s a mostly harmless time-waster of a motion picture; functionally a movie but without too much of that pesky depth or entertainment getting in the way.

This film marks the emergence of a potentially great dramatic filmmaker, and that makes sense. After all, this is a great film.

The problem is that not enough of the fun rubs off on us, the audience, to make this experience truly worthwhile.

Isn’t so much a movie as it is a corporate merger with stabbings and wiener jokes. A shameless piece of self-congratulation, fueled by self-cannibalism.

What’s clear is that as a stylist, Perkins is at the top of his game. Maybe even the top of anyone’s game. As a storyteller, he’s either a bold innovator or just slapping dream logic onto old-fashioned pulp.

For a sequel to a nearly 30-year-old movie, Twisters miraculously stands out against the modern blockbuster landscape. Just like Twister did back in 1996. It’s the rare legacy sequel done right.

Even though the conspiracy theory that NASA faked the moon landing is deeply and depressingly cynical, there isn’t an ounce of cynicism in Greg Berlanti’s sweet, comical and joyous film. “Fly Me to the Moon” uses great screenwriting and good old-fashioned star power to bring a far-fetched concept back down to Earth.

If all you want is another Beverly Hills Cop, here it is. If you want a great new Beverly Hills Cop, keep waiting.

It’s almost worth watching for Zac Efron and Nicole Kidman’s magnetism alone. If by 'almost' you mean 'not really.

The best that can be said for 'Day One' is that if this is your first A Quiet Place, you’ll probably get swept up in it, and want to watch the other two.

Another star-making performance by Mia Goth — surely she’s a star now, right? How many star-making performances does it take? — and a trip back to the seedier side of a decade that’s been sanitized within an inch of its life by condescending corporate exploitation.

Although this single-minded existence will fascinate and inspire devotees, anyone new to the details of her life is likely to be left wanting more. Even so, all will be moved by the honest approach Dion and Taylor take towards her illness.

Summer Camp is not a particularly good movie but it’s the kind of movie that makes a film critic wonder what 'good' really is, anyway."

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.

Both Kai and Lasker-Wallfisch’s daughter, Maya, encourage the reluctant Hans Jürgen, now a frail 87-year-old man, to confront his family’s complicity. As they push and he resists, the process is unsettling and unsatisfying for everyone. But somehow it unfolds that Anita, an extraordinary character and the film’s true heart, sees Hans Jürgen most clearly.

This disturbing riff on 'The Country Girl' (the country ghoul?) never seems anything less than earnest and sometimes — all puns intended — a little confessional.

What’s worth taking away from the film is its peacefulness. There are moments of friendship and family and workplace camaraderie that are real and charming.

Kelsey Mann was able to expand on what seemed like a complete story in the original film and tell a new and potent one, and that’s impressive and commendable even though — like many Pixar films — it falls apart in the details.

Though his slim script (co-written with Chris Smith) holds few surprises, Angarano’s direction is consistently confident. He paces this minor tale wisely, getting in and out of the characters’ small stories in a perfectly-timed 84 minutes.