Even if you agree with the film’s political lean, it’s hard to overlook the unorthodoxy. Common Ground smacks of propaganda masquerading as documentary. If such can qualify as documentary, then so should reality TV.

Even if a superior version of 'Rebel Moon' does come out eventually, that doesn’t make these versions any better, and they’re the only versions we have right now. They’re both shallow and generic space operas, distractingly derivative of better films while adding very little to the mix.

Bettinelli-Olpin and Gillett’s latest film sharply combines multiple genres and tropes — a few of which are an actual surprise — and sculpts them into a bloody blast of a movie. Literally.

It’s a larger than life World War II thriller in the Guy Ritchie house style, and he strikes a fine, fun balance between the threat that the Nazis posed and the thrill of watching hunky heroes slaughter them at great length, then chuckle and smoke cigarettes and call each other 'old boy' about 50 million times.

Faist, O’Connor and Zendaya have the ability to rise to the…challenge….but the script hampers them at every turn.

The most serious flaw of “It’s Only Life After All” is that Bombach has us spend so much time with these women, yet we learn so little about them.

Tells the story of Amy Winehouse but shows no passion in telling it and has nothing to say about the events that transpire. It’s the utter minimum of what a biopic can be.

It’s filtering Vera Drew’s autobiographical story through the lens of contemporary popular culture, transforming her own life into myth while transforming corporatized IP into punk rock anarchy.

The new movie’s twists can only exist if they don’t contradict the previous films, so only a few surprises are even possible and those surprises can only happen in unsurprising ways.

The film doesn’t just highlight Sue’s impressive skills on the court and her determination to hone said skills to perfection. It is a response to a growing trend of talking heads who have made it their mission to underplay professional women athletes and the contributions they’ve made.

It’s no small compliment to say that 'Godzilla x Kong: The New Empire' is expertly crafted drivel.

The Contestant wants you to be entertained and it wants you to feel bad about being entertained. It pretty much succeeds on both counts.

What it lacks in intelligence it makes up for with good vibes and great casting.

In the hands of lesser performers and lesser filmmakers the premise could have fallen apart quickly. The Idea of You, however, has performers who know exactly what they need to bring to deliver a believable, compelling romance worth getting swept up in.

While “Shirley” is no “Rustin,” cinematically, Chisholm, like Bayard Rustin, more than deserves her flowers.

It is a film about journalistic ethics and, in its own way, the interpretation of images is grounded in [Dunst’s] outstanding performance. It isn’t an easy role to inhabit, but she does so perfectly.

At a breezy 90 minutes, Copa 71 makes its case succinctly, dropping interesting tidbits while letting the event itself serve as a revelation.

Giving life to a horror vision that would not have nearly the same power and potency without her at the forefront of it, Sweeney has never been better than she is here. What a darkly beautiful yet brutal, bloody and bold film this is for her to wield.

The Fall Guy feels like an entire feature of scattered ideas that have been done better elsewhere.

Even at just over 90 minutes, it quickly runs out of steam and can only coast along.

While Dell’Anna’s performance will captivate you as you follow Cabrini’s path to success, the film’s inconsistent pacing makes it a biopic for a single viewing.

While far more grim than one might expect, and miles away from being a straight crowd-pleaser, it proves Patel is a force to be reckoned with, not only as an action star but as someone with skill behind the camera.

Babes may deal with weighted adult issues like motherhood, friendship, connection and the struggles of moving on, but, rest assured, it is a comedic gold mine of delightful punch lines.

Road House is a mixed bag of blockbuster punches and quirky set pieces that give way to hyper-masculinity in the modern world.

Like its villain, Kung Fu Panda 4 can do an imitation, but we can tell it’s not the genuine article.

Imaginary may not reinvent horror, but it knows how to conjure up a good time.

It takes a farcical premise and tries to find something meaningful to say about it. It doesn’t succeed, but the effort is worth analyzing.

You’re grateful for the time spent with a genuine epic of ideas and rueful that such heady themes weren’t more fully explored in a better film.