David Sims

That Rose-Lynn is an onstage force is easy to tell from the second she picks up a microphone, but Taylor makes this film less about her gift than about the maturity she needs to take it beyond the local Glasgow pubs. As a result, the film’s melancholy but uplifting closing notes land that much more powerfully.

The Dead Don’t Die is the first horror film I’ve seen that seemed as likely to lull me to sleep as to give me nightmares.

I’m all for the studio exploring new concepts and original characters going forward, and setting aside the endless anthologizing of its biggest hits for a good long while. But if I had to get another Toy Story, this is about as strange and beguiling an entry as I could have hoped for.

This sequel-slash-spinoff comes across as a lifeless piece of content, bearing a brand name and a glossy look but little else to remember it by.

The Last Black Man in San Francisco works best as a mood piece, and as its final act swung back toward heavy plotting, it mostly lost me, getting bogged down in thinly sketched interpersonal dynamics.

The overqualified cast do their best to inject some passion into the proceedings—Fassbender, in particular, is incapable of phoning it in—but the momentum drained out of these X-Men movies long ago. Dark Phoenix should serve as a fittingly perfunctory farewell.

It touches on all the usual clichés of this cinematic subgenre. It just manages to do so in the most fizzy, fun fashion, powered by an energetic lead performance from Taron Egerton that goes beyond mimicry.

The film is simply intent on capturing the energy of that special “us against the world” connection that can exist only in high school and unleashing it onto the screen.

It’s a garish, special-effects-laden extravaganza that still manages to feel tossed-off and half-hearted. The film is entirely devoted to the property it’s adapting, but its mimicry underlines just how pale an imitation it is.

Hogg is not a sensationalistic filmmaker, but rather someone who can convey tremendous amounts of emotion through total tranquility on-screen.

If the sequels keep coming, the John Wick story may one day collapse on itself. For now, the series remains the most reliable purveyor of high-stakes, onscreen combat around, a franchise that hasn’t yet been tarnished by its ongoing success.

This is a biopic so fearful that audiences won’t get the connections it’s drawing that it depicts a CGI dragon stalking the battlefields of the Somme. The result doesn’t rise above the insight of a Wikipedia page.

No doubt most Hollywood executives are as baffled as I am that Detective Pikachu made it to the big screen. But even more baffling, and heartening, is how well it all works.

Berlinger’s latest film attempts to reckon with the legacy of a brutal murderer who cynically cultivated his public image to make himself seem more alluring, but the story fails to dig in to the horrifying implications of how Bundy was able to succeed.

In the end, Long Shot is too fixated on the supposed absurdity of its romantic pair to spend much time considering them as people. Which is a shame, because the human moments are the only parts where the film really shines.

The film earns its length not by overstuffing the frame with opulent action, but by slowing things down and basking in the charisma of its ensemble.

Someone Great is fizzy, frivolous, and probably easily forgotten, but for a weekend-friendly jolt of entertainment, rom-com fans could do far worse.

The creative journey, and the magical bond between artist and subject, are what ignite Gilliam’s passion here. Unfortunately, the themes of The Man Who Killed Don Quixote are more compelling than the set pieces themselves.

A gorgeous and impossible puzzle of a movie.

It’s filled with colorful characters, innovative creature design, and some of the most spectacular sets in Laika’s history.

In trying to set itself apart, this film ends up perfectly laying out the case against its own existence.

For all its body horrors and apocalyptic conclusions, High Life is one of Denis’s most loving and tender creations.

This is the rare comic-book movie that actually seems geared toward families, mixing adolescent humor with sincere sweetness that doesn’t cloy.

The most shocking thing about the film is its unabashed cheerfulness. For all Korine’s trademark provocation, The Beach Bum somehow manages to be an upbeat, triumphant tale of creativity and free-spiritedness.

The film is just different enough to stick out amid the studio’s backwards-looking slate, and Burton, for the first time in years, shows he hasn’t lost his love for the idiosyncratic.

Despite the grand scale, like all of Jia’s works, Ash Is Purest White leaves questions of good and evil to the viewer—this isn’t a philosophical story, but a personal one.

Us is a thrill ride, a somber parable, and a potential first chapter in a vast, encyclopedic sci-fi story; talented as ever, Peele has found a way to cram all of that into a gleeful blast of a film.

The script, by Joe Shrapnel and Anna Waterhouse, conveys little beyond the fact that Stephen and Rachael are both sad, nice to each other, and very attractive.