Saturday Night plays with the sharp erraticism of an improv comedian's neurons, but it quite simply doesn't believe in itself the way Lorne did about the film's subject.

Like Me is a bombastic feature debut for Robert Mockler, benefitting heavily from visual artistry and Addison Timlin's strong performance.

No One Will Save You stands out among a crowded field for both the swings that it does take and the way it simultaneously acts as a love letter to its many forebears, all while putting its own definitive stamp on the proceedings.

Its unique narrative approach stumbles as often as it shines, but an endearing mission statement makes 'That Christmas' a worthwhile family watch.

Multiverse of Madness is at its best when allowed to be a Sam Raimi movie, but often sags when ticking off the boxes required of an MCU chapter that follows on from Scott Derrickson’s Doctor Strange, WandaVision, Loki, and Spider-Man: No Way Home all at once.

If you’re not a big fan of whodunnits, potboilers, or period pieces, then See How They Run isn’t exactly going to convert you. However, if you get on the same wavelength as a deliberately oxymoronic slice of escapism that melds the modern with the classic, the self-aware with the archetypal, and the subtle with the overindulgent, then there’s a distinct possibility you’ll end up with a smile plastered across your face when the lights come up.

Blurring the line between a narrative movie and a documentary, Actor Martinez is a film experiment that’s difficult to unpack but hilarious to watch unfold.

George Clooney and Brad Pitt fail to bring the big guns out on 'Wolfs,' but are just the right amount of endearing for streaming success.

A well-acted, slow burning indie, The Fixer uses thriller mechanisms to examine insular, tribal cultures through the eyes of an outsider.

Allied is a prestige drama without the prestige, wooden in appearance and lacking any true drama.

Back from the dead, the new chapter of the Scream series brings us back to the story we initially fell in love with, while creating a dynamic where Ghostface can strike again to continue his bloody carnage.

Good Boys successfully exploits a newfound ground between crudeness and innocence, but nearly runs it dry.

Edward Norton mines political relevance in some areas of noir-drenched New York and completely ignores it in others. As a result, Motherless Brooklyn becomes Chinatown’s outshined, ugly stepbrother.

The Whale is a frustrating watch as Aronofsky doesn’t seem to trust the actors or the audience, squashing the potential to tell an intriguing story.

Crawl is a sensationally thrilling aquatic nightmare filled with carnage, bubbling chaos, and all the creature-feature intensity that makes this the summer's must-see horror event.

Get The Gringo is a passable addition to the action genre but it might have been better had the need to keep Gibson’s fan base happy not been so pressing.

The fuzzy residents of the 100-Acre Wood cutely convert to the real world in Christopher Robin, a mildly entertaining film that'll remind kids and grown-ups alike of the fun that can be had in doing absolutely nothing important.

Dark Night is rigorously framed and edited, but it offers the illusion of complexity rather than the real McCoy.

Yes, the movie where a girl falls in love with a Tilt-A-Whirl says more about self-assurance, romantic wilds, and personal comforts than most human-on-human counterparts.

Warren Beatty's Howard Hughes retrospective, Rules Don't Apply, is equally tone-deaf in humor and drama, cobbled together in ways that never seem to fit.

While not a home run, this comedy/drama might still be worth a look for fans of any of its charismatic stars (especially Slate and Kazan) and for those looking for a comedy that at least attempts to infuse darker elements in with its awkward laughs.

Gifted may be bogged down by some generic dramatic beats, but young Mckenna Grace is the beam of sunshine that keeps us from losing faith.

What Backcountry did for campfire creature attacks Killing Ground does for murderous bushmen in the same setting.

We Live in Time packs an emotional, surprisingly meditative punch in the form of one of the most beautiful romance films of the last decade.

Bravo’s abundance of inexplicable details makes for an interesting conundrum at first, but mystery soon fades.

Little Monsters is a must-see horror comedy that proves Lupita Nyong'o should be starring in far more horror movies than she's been offered at this point.

Godzilla vs. Kong is exactly the movie that everyone wants it to be, and that covers both the positives and negatives.

Doctor Sleep is a conflicted and unwieldy sequel attempting to unite worlds (King and Kubrick) while telling an original story from yet another filmmaker's viewpoint (Flanagan) that never blends together.