“Pompo” reveals itself to be a film about why not every single thing you do as an artist is special, and how admitting that can lead to stronger, more efficient storytelling.

The film, in short, exhilarates and exhausts in equal measure, abundant in ambition and arduous, at points, in execution. And after six long years of waiting, one can hardly fault a bit of excess generosity – even if the feast leaves you stuffed if not quite satisfied.

The movie leans into the melodrama, taking its time and milking the situation for all its worth.

It’s easy to see what attracted Fraser to this material, since it’s almost mechanically designed to make him look good as an actor, and enchanting as a star.

It didn’t take long for this fleet-footed sequel, spry and charming, to win me over.

These performances are about more than just literal nudity, of course; both leads strip away the surface layers of the characters — her brisk efficiency, his good-time party vibes — to get at the vulnerability and the complex neuroses of each.

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.

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.

Band Aid might sound gimmicky, but Lister-Jones keeps the emotions firmly rooted and the characters believably contextualized.

Beach Rats has an experiential, almost docudrama aesthetic whose lived-in authenticity is in keeping with that of the film as a whole.

The film is an emotional rollercoaster bursting full of dynamic tensions, mind-bending twists and shattering truths. It’s the perfect combination of high marital drama and science fiction thinkpiece, and with the lengths the film goes to, Foe is a worthy addition to the emotional sci-fi canon.

This isn’t a glorious rebirth, it’s a functional facsimile, and it’s a wholly satisfying piece of slasher entertainment regardless.

At last, an Aronofsky film where it doesn’t feel like he hates us. O brave new world, that has such movies in it.

Hathaway makes Gloria feel familiar and unique all at once. The same can be said of Colossal itself, which lives up to its title without losing sight of small-scale human drama.

Unfriended commits to its idea and continually finds new ways to creatively exploit it, building the tension as each character reveals his or her own dark deeds, thus justifying the brutal vendettas visited upon them.

The movie ultimately serves as an coiled and heartfelt tribute to Jesse’s powerful trajectory, and Paul’s own chemically active, emotionally reactive brilliance in one of our peak TV era’s defining series.

It’s a snack of a movie, not so much a full meal, and that’s OK. There’s a lot of energy in this film; more than enough to get you through your afternoon.

Ruben Brandt, Collector is a wonderful heist film, a thrilling action-adventure, a gorgeous visual feast, and an intriguing look at an artist whose greatest talent is recognizing the value of the art inside others.

In truth, the movie can be pretty ridiculous, too, with its wild ambition sometimes coming across as a little foolhardy. But overreaching might be the whole point of The End, which offers an end-times prescription for living: Hold the fantasy together as long as you can. And when in doubt, sing.

This is the kind of screenplay that offers juicy opportunities for actors, and Zendaya and Washington leave nothing on the floor.

Queens of the Dead may not be a timeless classic and it might not be a game changer for the genre, but more than any other recent zombie flick, it’s likely to play the midnight circuit for years. Not because of the camp. Not because of the unlimited cosplay opportunities. But because it fosters genuine good will from the audience. We love these characters, and we want them to stick around. Zomb-ay, you stay.

It’s messy at times and melodramatic at others, and its treatment of mental health issues is not the most nuanced, but those feel like quibbles given the joy you can find in its best moments.

Brian Netto and Adam Schindler’s gimmicky nail-biter is intense and creative enough to quicken your heartbeat and make you wonder if you’d be clever enough to survive in the same situation.

Yes, it’s a wrestling movie, but Fighting With My Family is also a delightful entry into a genre that has too few inspiring stories for young girls. It’s a warm-hearted underdog saga with a feminist undertone and a celebration of everyone’s inner misfit.

Logic, be damned! And begone! Everything about the new 'I Know What You Did Last Summer' strains credulity until credulity breaks open and spills fake blood and candy everywhere. And that’s for the best.

Black Is King doesn’t exactly stand with the best of her previous work — it’s a pleasure but not a landmark — but the Queen Bey goes through it with her head up and her crown intact.

It’s in little danger of becoming a classic but it’s gratifying to know that Barry Jenkins made this film his own, telling a fine story with genuine emotion and visual aplomb.

At times, The Infiltrator feels like a movie we’ve seen before, but deft performances and Furman’s sharp sense of the era transform it into an engrossing drama.