Nick Allen

A plainly affable romantic comedy that’s not too powerful with its romance, and certainly not its comedy.

The film has a grounded, jovial quality especially whenever we see images of Wilkes and Maisel from previous years; it's sometimes like a low-key comedy about one man's quirky mentor and buddy.

A project clearly made by a first-time actor-turned-director, who is most concerned with their own scenes and casting.

Euphoria struggles to be little more than a hum-drum meditation on kicking the bucket.

This Child’s Play is nastier, more playful, and just as good if not better than the original film.

Papi Chulo is a buddy comedy, but only by its ramshackle design — it’s a forced friendship, and it’s not cute, let alone funny.

The film proves to be more shallow than its edgy premise and subsequent themes promise.

Magid essentially casts herself as the lead of this documentary, which has a wild way of questioning ownership when it comes to an artist that so many people love.

Its greatest value is probably in how it could educate budding movie-lovers on cheesy and predictable storytelling, but even that seems like a lesson Rim of the World cynically teaches at an elementary level.

There’s nothing wrong with a little cheese in a message about life, it’s just that with The Professor there's nothing more to it.

It’s the presence of Gibson and his co-star Sean Penn, who give the project a stuffy sanctimoniousness, as it so transparently yearns to be the definition of “powerhouse acting.”

Knock Down the House prevails with albeit straight-forward intentions: to amplify the women who are both mad as hell and doing something about it.

A frustrating genre picture that’s just too dreary to be scary.

William simply devolves into a drab, moody morality tale for parents about not treating your kids like test subjects.

Simultaneously gorgeous and eye-opening, the film uses its grace to preach about the potential of storytelling — especially when it comes from an underrepresented perspective. Davis’ movie contemplates miracles and acts of love I’d heard about during a countless amount of hours at Sunday mass and beyond. But through the profoundly compassionate lens of Mary Magdalene, it felt as if I was learning about them for the first time.

If having their own Momo is Netflix’s latest attempt to grab viewers, they’re gonna need a much more disturbing monster.

It’s the blockbuster version of plopping down in front of a Saturday morning cartoon, watching an archetypal caped crusader save the day. All the while you slurp your sugary cereal, an act of killing time before the next major superhero story comes to theaters.

The work of a filmmaker I'm very excited to see and hear more from, “Starfish” is very much its own sci-fi mixtape—curated with hit and miss offerings, but with an undeniable and meaningful sincerity all the same.

A stunningly drab take on the life and legacy of a photographer who merged pornography with grace, Mapplethorpe doesn’t have an artistic signature of its own, so much as a name it doesn’t live up to.

Though Overgård spends a lot of time alone with his thoughts, Arctic lacks what makes for the best movies of its ilk: it does not inspire much imagination concerning what our hero might do first if he does get back home.

Even though Fighting with My Family is undoubtedly about branding the WWE as a fantasy factory, its biggest strength is in its wit and surprisingly big heart, celebrating underdogs who rumble for what they love.

This is a story that errs toward the familiar instead of embracing strangeness, its freaky kid becoming the distraction when you just want more time with the hole in the ground.

Broad themes like staunch hope, and vital human connection, become cheap sentiments, vanishing into air. “IO” isn’t science fiction storytelling distilled so much as it is vaporized.

Much stranger than fiction, and yet it tells a story that makes perfect sense in the age of influencers and the general need to be seen.

With Rockaway, you don’t have to know all the details of Budion’s life—or have even seen “Stand By Me”—to get a strong feeling of what’s honest here, and what isn’t.

But even with its all-around noble dramatic intent, particularly from Butler, the film struggles to leave a mark.

While Nona does eventually reward audience members with stark drama grounded in a daily nightmare, it risks cheating itself of its full impact, pretending for most of its running time to be a fairytale it certainly is not.