The grim absurdity of it goes hand in hand with the horror, making the escalations and chaos properly fun.

It’s evident right away that the people responsible for Being Mary Tyler Moore, a two-hour documentary about the personal and professional life of comedic-leaning actress Mary Tyler Moore, cared deeply about its subject.

The Boogeyman is at its best when it strips away all the excess to draw us deeper into darkness.

Maniscalco has built himself a very large and dedicated following through his work in stand-up, and with About My Father, he's finally able to bring his jokes to the big screen in a way that will please his fans but also garner him some new loyal followers as well.

While the group of actors who play the students offer strong performances, particularly Luke Barker, Ksenia Devriendt, and Florence Baker, Hausner's meandering feature eventually concludes without a real ending.

While the narrative has its cracks, the visual aesthetic and appearance of Asteroid City are completely flawless.

None of the action scenes have any passion to them and, even worse, they can feel downright contrived. That it then pretends to have something more to say strains credulity.

Where Thornton's narrative falters, his camerawork and directorial eye are stronger than ever.

While Haynes isn't at his best with May December, a talented cast and an intriguing story make the film an entertaining exercise all the same.

The Little Mermaid might not match the greatness of the original, but it’s the rare remake that feels worthy of being part of our world.

With a messy story and confusing characters, Aïnouz's Firebrand is a disappointment to behold no matter how exquisite the film looks.

Occupied City starts off strong, but after the intermission, you can feel how aimless the documentary is at times, with the final act feeling almost excruciatingly long.

Bolstered by a strong cast and a luscious color palette and landscape, Killers of the Flower Moon is worthy of a watch for those who can look past its romanticization. For those looking for a film that puts Native American voices and characters on center stage or a more comprehensive story, continue moving on, even with three-and-a-half hours, this is not that film.

It is a fun romp, one that is sure to entertain audiences.

Kore-eda crafts a careful story, full of hidden twists and turns that reveal themselves with time and patience.

The problem just keeps coming back to Harlow. Not only is he just out of his depth in hitting the necessary comedic notes, but the hollowness of his performance also becomes impossible to overlook when his character goes through a rough patch and must find redemption.

Jeanne du Barry’s straightforward script might not convince the average moviegoer to spend two hours in the French court. However, fans of period romances will be well-served with a love story that puts a sex worker in the spotlight. And while Maïwenn and Depp are not the steamiest couple in period biopics, Jeanne du Barry is still entertaining enough to be worth your time

But even though Fast X is spread too thin, and we’re starting to see the consequences of this ever-expanding family, it’s still a blast to watch.

Crater's stakes are low for its characters and the audience. It abuses clichés, never deviates from its formulaic script, and fails to surprise the viewer.

The character-driven action epic from director Niki Caro is at times imbalanced and lacks subtlety. Yet, like its lead, it manages to get the job done.

When all the pieces come together, it is a work that proves to be one of the more well-rounded experiences from Rodriguez in quite some time.

If Day has shown anything with Fool’s Paradise and the long road to get it made, it’s that he has passion and a vision, and a dedication to making a project that works for him. Fool’s Paradise might not work as well as it should, but fingers crossed that Day keeps at it.

Book Club: The Next Chapter is a raucously funny movie that will leave audiences ready to grab their gal pals and set off on an adventure to Italy.

While there are many promising pieces being assembled, with arresting visuals bolstered by the performances of Mescal and Barrera, any awe to be had in Carmen becomes dashed by its own emptiness.

It is a beautiful, haunting, and heartwarming look at the tidal wave that trauma brings not just to one person but their entire circle. With subtle but sharp notes on MeToo, cancel culture, online trolling, and sexual assault, I Used to Be Funny is a searingly relevant film without making that its main objective.

From the careful casting of Navajo actors — vital not only to representation but when it comes to speaking the language — to its honest look into rez life without any Hollywood spin, Frybread Face and Me isn't just a joy to watch but spells a bright future for Luther after this narrative feature debut.

It can be said the film does indeed provide a full summary of Foreman’s recounting of the major events in his life where he comes out looking pretty great, but that hardly makes for a compelling work of cinema.

Guardians of the Galaxy Vol. 3 isn’t just the ideal sendoff for this group, it’s the best MCU film in years, and a reminder of how much fun and moving the Marvel Cinematic Universe can actually be after film-after-film of recent disappointments. The Guardians of the Galaxy were the best corner of the MCU, and Gunn has created the perfect goodbye to this gang of misfits.