Some flashes of personality bookend a largely one-note affair about forgotten and forlorn father figures in this feature directorial debut from Quoc Bao Tran.

Buoyed by producers Chris Miller and Phil Lord’s frenzied oddball energy, Netflix’s newest animated offering finely balances commentary and sheer colorful entertainment.

Nikole Beckwith's smart screenplay balances quirk and steadfast sincerity in her second feature, one that challenges regular genre associations.

If there’s one thing Wheatley excels at, it’s starting from a place of benign normalcy and ending somewhere so irrevocably contradictory you’d think the director had a chronic case of change-of-heart midway through his productions.

The director of "Limitless" and "Divergent" returns with a space-set riff on "Lord of the Flies" that does little to justify its cosmic surroundings.

“Moffie” emerges not as a story centered on the dehumanization of Black South Africans during the apartheid era, but rather on the empathy-starved soil of military boot camp from which hatred so easily sprouted.

Charléne Favier's frosty feature debut covers a broad canvas of emotional consequence via a small-scale, untraditional, ultimately devastating sports story.

“Godzilla vs. Kong” succeeds because it finds compromise between its foes’ enduring pop culture status and the technical calculations (and deep pockets) of modern Hollywood to turn that status into bracing spectacle.

Hong Kong's Oscar contender navigates the degrees of dystopian separation between real-world issues and melodramatic fiction, to middling success.

The sophomore feature from Ilya Naishuller confirms him as a filmmaker of the ferociously hardcore, leave-the-kids-at-home, make-you-wince-once-or-twice variety.

An intriguing but narratively self-defeating mash-up of “Stranger Things,” “Inception” and stark ‘80s paranoia, “Come True” – the second feature directorial effort from Anthony Scott Burns – puts a ghoulish spin on cinema’s defining ability to turn the audience into voyeurs.

For the audience being invited into it, the space at the physical and spiritual center of “The Inheritance” feels somewhat suspended in time. Asili dispenses of any temptation of narrative urgency in favor of documentary-like vignettes that can shake off one aesthetic for another in any given moment.

Florian Zeller's confident film debut is an Oscar contender that creeps up to the line of horror and boasts some of Anthony Hopkins's finest on-screen moments.

Eddie Huang's first feature effort attempts to put an intergenerational immigrant-story spin on your standard sports tale.

Natasha Kermani's new movie has whiffs of belonging in the busy time-loop subgenre, but it turns those attributes into a commentary that's all its own.

Walt Disney Animation’s latest is its most action-packed entry since “Big Hero 6” and its most soulful since “Moana.”

The 2021 revival is a strange and self-defeating movie, one that begins by flexing its pop culture awareness muscles before going on to show a fundamental misunderstanding of what makes Tom and Jerry so enduring and sadistically endearing.

The Russo Brothers’ “Avengers: Endgame” encore finds them unburdened and ultimately undone by the air-tight calculations of that superhero enterprise (and perhaps providing clarity as to who the success of the Infinity Saga’s finale ultimately resides with).

An occasionally cunning, candy cane-sleek thriller that is far more interesting for where it arrives than how it arrives there, “I Care a Lot” is the kind of movie you come away from unable to reflect on the first 110 minutes because the last five are so ferocious in vying for the spotlight that we feel compelled to at least humor it.

If the story being told in Shaka King’s “Judas and the Black Messiah” – a mighty impressive sophomore feature chronicling the influence and 1969 police assassination of Chicago Black Panthers leader Fred Hampton when he was just 21 years old – was any weightier, it would threaten to burst out of the TV sets that most HBO Max subscribers will likely be watching the movie through upon its Friday arrival.