Each time you think you’re seeing the daylight of something potentially better to explore on the horizon, “Buddy” keeps dragging you back into the banal darkness. Like the kids, you deserve far better than whatever this lackluster production amounts to.

Chiarella’s film is small in scope but shattering in emotional range, slowly burrowing under your skin. Once it makes its home there, there is no shaking free of its haunting, heartbreaking and surprisingly harmonious vision.

It’s honest about the deception that is inherent to celebrity, confronting us with one compromise after another, building to a pitch-perfect finale needle-drop over a captivating monologue that elevates the comedy into a work of grand, messy ambition.

Saccharine is not a film that goes down easy, but you may just find yourself hungering to return for a second course to get a better sense of what James is serving up.

Though an extension of the same tone that was experienced in his HBO series, this feature is more than just one very long episode of his show. Instead, it’s like Wilson has fully become a funnier, more frenetic version of Frederick Wiseman.

With Carousel, Lambert’s new romantic drama starring the excellent duo of Chris Pine and Jenny Slate, she strikes gold yet again.

The fact that the movie can still stay entertaining enough is thanks to the performances and Carnahan’s claustrophobic camera work, which turns a mundane cul-de-sac into a particularly unnerving location. But once the film hits an answer on who you can trust, it can’t help but sputter to the end.

Nia DaCosta’s smart, freaky sequel zooms in on the ongoing battle between sense and senselessness until it finds strong, connective tissue between science and religion.

Sedgwick and Bacon are visibly delighted to be together, and we buy Cynthia and Stan’s connection even when it feels underwritten.

Roberts wraps his audience around his finger and then points us in the direction of gruesome, darkly humorous devilry.

For a movie that should provide the comfort of the romance genre, People We Meet on Vacation usually tops out at being blandly pleasant.

These Greenland films may not always have a coherent point, but when they focus on the nuts and bolts of survival and the toll that surviving takes on these characters, they’re efficient, effectively crafted genre pictures.

It’s easy to appreciate the ambition of Gaines’ new take on Dutchman, but the original tale is fighting back, and it’s got the upper hand.

There are some moments where the film clings a bit too heavily to genre tropes, but thankfully, its main focus is on coping with loss and the complexity of grief.

I’d say if The Plague wasn’t nominated for Best Original Score there’s something terribly wrong with the Oscars, but The Plague didn’t even make the short list, so there’s just something terribly wrong with the Oscars.

Life is too damn hard to get so damn mad about a sweet, mostly effective drama like Song Sung Blue.

This new Anaconda is so busy talking about how silly it is to make a new Anaconda that it never actually makes a good 'Anaconda.

In the end, The Whole Bloody Affair doesn’t do enough (or perhaps does far too much) to justify its existence to the everyday cinephile. However, Tarantino superfans will undoubtedly lap the film up like cream and, in the end, a director got the opportunity to finally share his true vision with the rest of the world. That’s a net win here.

Glorious, angry, hilarious, nail-biting fun from a director, writer and cast who all know exactly what they’re doing, and relish in the fact that they’re practically getting away with murder.

The only way ‘Avatar: Fire and Ash’ could be more hypocritical, and taken less seriously, is if the characters also yelled “Hypocrisy sucks!” while sitting on Whoopee cushions.

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

Skarsgård is a captivating chaos gremlin, and Montgomery is — in an easily overlooked, but absolutely vital role — an exceptional foil.

A sadistic delight, just like its predecessor.

Goodbye June is just hyperemotional tourism. We’re lookie-loos popping our heads in for the saddest moment in this family’s lives. We don’t even get to know them very well.

Scarlet' might be [Mamoru Hosoda]'s most narratively ambitious work to date, adapting and warping one of the most famous tales ever told, adding new layers of complexity, and centuries of new, invaluable context.

It’s one of the best, most deeply felt and most gorgeously animated features of the year. On this or any other planet.

Ella McCay' is a film about American politics in the same way that Pixar’s 'Cars' is a movie about cars. As in yes, these are definitely films about politics and cars. But no, politics and cars don't work like that.

Despite one wonky misstep, it captures some real magic.