Allswell is one of those rare movies that feels less like a cinematic presentation and more like a personal invitation into someone’s home.

Brothers takes a tediously familiar comedy story structure and hangs some genuinely interesting characters and performances on it. It’s like a Frankenstein monster made out of Raising Arizona and Dumb and Dumber To.

Smile 2 is more of the same. A lot more. But it’s just as scary, and this time it’s feistier and funnier, proving that the premise has legs and also some malleability.

The story isn’t so hot. At least the leads are. That’s not enough to make Lonely Planet a good film, but it might be enough to get through all 94 minutes without clicking on something else instead. Maybe

It’s intelligently crafted and falls together quite well, despite a narrative that turns complicated quite quickly. You are safe in writer/directors Logan George and Celine Held’s hands. They’ve thought it all through.

Taylor envisions a 'Hellboy' where the horror matters more than the humor or poetry or romance or even the good vibes, and he’s made a film that proves his take is valid.

I’ve been to whole film festivals with less cinema than Steve McQueen packs into just two hours.

Morgan Neville may have made the latest in a long line of giant LEGO commercials, but he’s made one with real human decency and soul.

It’s What’s Inside understands the concept of sympathy, but with people like this, the movie advises against it.

I cried, dear reader. I cried so much. Not just because the story and characters were wonderful, but out of the joy of discovery.

A popcorn-spilling, shriek-inducing, tricky little treat.

The subject matter is already horrifying; we hardly need to see its fictional illustration staged for maximum impact and set to insistent and foreboding music.

It may freak you out a little bit, and that may be enough for some people, but it only briefly grabs hold of something significant. Then it lets go.

The pacing is far from what you’d expect in a Hollywood movie with this much action, which can make the film feel longer than its 116 minutes. But that rich languor and love of words is earned, and do you really want to tell Ralph Fiennes and Juliette Binoche to hurry up? No. You. Do. Not.

Road Diary takes a Springsteen concert as a template of sorts, which means it mixes joy and dread and love and regret and exuberance and silliness and seriousness; it’s intoxicating and it’s sobering, and it rocks like hell but confronts what’s been lost during Springsteen’s 74 years on the planet.

The film is bookended by quiet scenes between a man and a woman, by beautifully understated performances by Bloom and Balfe. Understatement in a boxing movie? If you look past the savagery of the middle hour, that could be the craziest thing about this new take on an old genre.

It’s unexpectedly touching and even lovely, a grandly sad benediction to people who don’t need no stinkin’ test to tell them who their soulmate is.

A film about adult problems that preys on adult fears, made for audiences with an attention span and high standards.

There are things to admire in the visual design and in the way a small group of accomplished actors submit to this quiet horror show, but cold, begrudging admiration is about all the admittedly stylish film is designed to elicit.

A textbook example of what happens when movies are treated like content, something to fill a quota, not to be thought about or enjoyed, so that Netflix can tell their subscribers technically they have a new exclusive movie this week, quality be damned. And in this case quality was indeed damned. It was damned straight to hell.

Sadly, I’d rather watch any of Smith’s fake movies than The 4:30 Movie, because at least they seem enjoyably weird.

It’s not only his best film yet, but it’s the work he’s been building up to over his entire career.

If the three main draws are too confirmed in respective talents to deliver a subpar performance or a slipshod composition, their shared billing can never quite deliver this film from listlessness.

Though adapted from the book (and life) of William S. Burroughs, this carnal film builds just as much on the filmmaker’s ongoing interest in unmet desire, finding greater ecstasy in the wait than in the act.

Don’t let the name fool you: April is a wintery affair. By far the most uncompromising vision to play at this year’s Venice Film Festival, director Dea Kulumbegashvili’s slow cinema horror show might also be the most audacious.

Interestingly, it’s Cena — and co-lead Awkwafina — who give the two-dimensional structure some three-dimensional heft. But they have to work pretty hard to bust out of its repetitive cycle of low-stakes comic violence.

Since Håfström and his crew stick their landing, those who particularly enjoy second-hand claustrophobia may find it worth the long journey. Everyone else, however, will be better served by more engaging enterprises here on Earth.

If Howard and Sweeney can make movies together like this all the time, may neither of them ever stop.