Lena Wilson

Even when it drags — 169 minutes is a lot of time to fill, even for this masterful crew — the film gamely mixes comedy, action, and drama into one truly satisfying cocktail.

This is a sweeping, lived-in romance that is as resonant as it is precise.

This high-concept horror too easily crosses over from charmingly erratic to nonsensical.

Why Magic Mike’s Last Dance chooses to teach viewers about love, consent, and having it all, then, is a mystery. The Galentine’s Day crowd will probably be too drunk to notice.

Body Parts has a lot to say about onscreen objectification, but it would benefit greatly if — like Quentin Tarantino’s camera on a young woman’s feet — it maintained its focus.

Where Anderson went to great lengths to address some salient topics in his novel — like colonialism, the American healthcare system, and the obsolescence of the working class — Finley’s “Landscape” lacks the worldbuilding necessary to make any such strong connections. This could be a scathing indictment of our country’s growing class divide. Instead, it’s a nice-looking, entertaining movie that conveniently pulls its punches.

This is a staggering achievement, the sort of nonfiction project that takes unfathomable guts and skill.

It’s difficult to imagine anyone watching Life Upside Down out of anything other than abject desperation.

There are some good nuggets here — the leads, the look, the always-scene-stealing Dasha Nekrasova. When Englert goes behind the camera again hopefully she can coalesce her many enthusiasms into one walloping whole.

This is a polished, straightforward account of harrowing events, told with empathy and relative objectivity. If you’re looking for an entrée into one of the most bizarre, complex chapters of human history, look no further.

By showing the tangled relationship between a mother and her dysphoric child, L’Immensità writes a love letter to the lonely.

It’s undeniably impressive that such a tiny movie has garnered such a reputation. Ball has made an interesting attempt here, and it will be exciting to see what he does with a little more money and, hopefully, restraint. In the meantime, unless you want to tirelessly search “Skinamarink” for creepiness in all this filmmaking fog, you’re likely to find there’s very little there there.

Plane would be less mind-numbing if it took itself either a little less or a lot more seriously.

What saves this wallflower of a drama is its focus on the women’s friendship, which Mosaku and Horn sell with aplomb.

Too self-serious to be comical and too strange to be earnest, The Almond and the Seahorse traps viewers in a purgatory where every occurrence feels equally cumbersome and meaningless.

It’s a powerful, well-assembled watch, but curious viewers may feel prompted to seek out more details than this film is willing to offer.

The lack of stakes in this film come from its quirky style and shoddy writing. It’s perfectly possible for well-written film to be silly, but the levity in Four Samosas fizzles into nothing.

Crowe’s acting is fine, but he hasn’t done himself any favors with his by-the-book direction or paltry script.

A stellar script and two standout performances from Jillian Bell and the sensational Natalie Morales round out this sweet little flick which, despite its intergalactic ambitions, doesn’t stray far from a rental house in wine country.

Please Baby Please may pay homage to queer aesthetics, but it fails to make any coherent points about gender or sexuality.

The film is accessible, engrossing, urgent, and horrifying.

Baghdadi has harnessed something truly special. Like its fractious characters, Sirens is both humble and arresting, relatable and unique. It will stay with you long after the band has played their final chords.

The film focuses more on one character’s moral defects than the sketchy project overall, leading to a conclusion that feels unsatisfying at best and pompous at worst.

“First Kill” takes the best part of its predecessor — its camp value — and dials things up to 11, delivering a movie that demands to be seen at rowdy theaters and sleepovers worldwide.

In the documentary Free Chol Soo Lee, first-time doc directors Julie Ha and Eugene Yi use archival materials in an attempt to present their tragic hero in all three dimensions. Despite their efforts, Soo Lee feels just out of reach, but the story of his life remains as important as it is horrifying.

It’s not that “Bodies Bodies Bodies” is bad. It’s visually appealing and nicely acted. But this film is not special, and like its shallow characters, it is persistently unaware of its own inanity.

As satires go, this one by the writer and director Quinn Shephard is hardly subtle — but though it lacks narrative finesse, Not Okay is brimming with provocative in-jokes for the extremely online.

Even when this film is a bit too neat, it’s still totally irresistible.