C.J. Prince

Rather than aim high, Sick is happy to make the most of what it has to work with, and shows how sticking to the basics can still provide a hell of a fun time.

Raymond and Ray, while far from terrible, is more damning for how content it is with mediocrity. We know Garcia and his cast are capable of much better—they’ve done it.

There’s enjoyment to be had with The Menu, even if it amounts to echoes from the belly of the beast it’s targeting.

Empire of Light would like to remind us of the power of movies when it does a far stronger job recalling better ones.

Pugh’s performance is more adequate than impressive, a result of her character having background and motivations laid out so there’s little else to take from what’s onscreen.

It’s lucky that Neugebauer has such strong talent to elevate what she’s working with, as it helps rescue Causeway from a forgettable collection of indie-drama cliches into something more respectable.

However easy it is to admire Polley’s efforts to provide an example of the solidarity and courage it takes to build a better world, that alone doesn’t equate to good filmmaking. Women Talking doesn’t meet the moment so much as show up for it.

When it’s not falling into the traps of prestige horror with arbitrary vagueness, Earwig has power to pull viewers into its strange, menacing universe—enough to make this experience worthwhile.

The Humans spends its time inside its own head when it should have been putting more effort getting into ours.

Some might balk at the film’s light, non-judgmental tone towards incest, abuse, sexuality, and religion, but LaBruce is smart in how he lets that tension rest on the audience and whatever baggage they may bring to the film instead of trying to acknowledge or appease to it. If anything, Saint-Narcisse is a welcome piece of provocative entertainment, existing as its own weird and sincere comedy for those willing to take the ride.

A mixed bag, part entertaining and part annoying with a whole lot of gusto behind it.

The comedy in Benediction is like a spoonful of sugar before Davies brings in the medicine.

We’re ultimately left with a sense of formal stillness and relief brought about by the conservative spiritualism that feels strangely vague and unearned.