Katie Walsh

While the mocking tone mostly undermines any trenchant commentary, the strongest impression Ready or Not leaves, thanks to Weaving’s eye-rolling, primal-screaming, evil-giggling performance, is of the cathartic, transformative female rage at the center of it all.

In Wilkes’ heartfelt thank you note of a film, time, art and space collide, though in the end, all things must pass.

Roberts, working with a much larger scenic and visual palette this time, seems adrift.

Stupnitsky and Eisenberg have deftly mined this space for laughs, and the seasoned comedy vets (“The Office,” “Year One,” “Bad Teacher”) deliver a joke-dense and highly original coming-of-age tale that’s sweet and sour in all the best ways.

It’s a colorful, cuckoo-crazy, sometimes funny, often bewildering experience, to which you slowly become numb with every incongruous shot of Leonard the pig’s round, green butt. Come to think of it, it’s the kind of entertainment that could only be enhanced with a little green.

The Art of Racing in the Rain, while a tearjerker, is a very strange movie, starting with its mouthful of a title.

The action in this live-action adaptation is sanded down and decidedly safe. Bobin loses the geographical thread in the film’s climax in and around Parapata, but it’s never about the visual thrills, it’s about the girl at the center of it all.

LaBeouf brings the soul to The Peanut Butter Falcon, while Gottsagen brings the spirit.

While Moop might appeal to the Burning Man die-hard set, or for aficionados of the tales of doomed, Sisyphean film productions, beyond that, it’s not much more than a minor curio.

While “Mean Girls Apocalypse” sounds like a winning premise, and an incredible thought experiment, the result is something narratively slack and intensely off-putting, which no amount of excellent acting can save.

The whole film is a bizarre exercise in fantasy-building on a budget, from the computer-generated sets to the over-long, predictable story.

It’s his own words, and confronting them now, having lost many of his friends to spats and fights, brings Crosby to his most vulnerable place.

Often, trying too hard to be edgy sails right past offensive and just hits boring. Sherman, amazingly, manages to nail both.

Stearns grapples with notions of gender, violence and identity. But in this mannered, ironic take, his punches don't land hard enough to leave a mark.

Firecrackers isn’t just a confident feature debut from Mozaffari, but a daring one, the kind of fast and furious feminine filmmaking that heralds the arrival of several exciting new talents.

Maiden is a grand adventure, the likes of which we don’t always see too often anymore.

With impeccable craft, Wang has created a funny, heartfelt and bittersweet film that will ring riotously true for anyone who knows the joys and agonies of a large, complicated family, regardless of culture, ethnicity or nationality.

There is absolutely no reason to catch a ride with the nasty, brutish and shrill "Stuber," a horror movie about our current American nightmare of late capitalist economics and unchecked law enforcement masquerading as an "action comedy."

Everything in the film is high: high concept, high pressure, high stakes and it often feels bizarrely forced. Nothing makes any sense and is never explained.

Despite all the limitations on her life, Rose-Lynn is one of the most free-spirited creatures to ever be put on film.

Dauberman’s control over the camera and mastery of suspense is impressive, especially for a first-time director. But the film is strung too tightly, rarely breaking bad, denying the cathartic chaos one craves in this kind of film.

This is a brutally violent reset on the '80s franchise that ultimately became a punchline, but while it goes big on gore and atmosphere, Child's Play doesn't muster up any actual scares.

Star Fryogeni, who bears a striking resemblance to Frances McDormand, appears in almost every shot, and she carries the film with a bravura performance of a woman at her wit’s end.

A detailed and affable exploration of this world, This One’s for the Ladies is so unabashedly sex-positive you just might want to find the closest all-male revue.

The Dead Don't Die is a bit too arch and remote to fully enjoy as a transportative or emotional piece of entertainment, but for Jarmusch fans and zombie fans, it's a fun little exercise in witnessing the auteur graft his unique sensibility onto the beloved genre.

Cool New York City detective John Shaft is back again in, you guessed it, Shaft, with a modern update that goes completely sideways in all the wrong ways. This Shaft is a bad mother all right, and it'd be better if he just shut his mouth.

The events of Woodstock have been told, so it’s refreshing that this documentary draws out the details one might not have heard before — the food donations from the town, the volunteer Army doctors, the attendees who stayed to pick up trash.

There are times when this visual twist confuses rather than elucidates. However, there’s no denying the bracing, honest nature of Mouthpiece, a truly revolutionary piece of filmmaking.