Alan Ng

Ice Cream Man is depraved fun served exactly how it should be — cold, messy, and with zero apologies. Eli Roth made the movie only he would dare to make, and horror fans with a strong stomach should line up for a scoop.

Tornatore has produced an immaculate and inspiring film. The dramatized scenes are just as gorgeous as the town of Solomeo, where Brunello brought beauty and grace. Up until now, I had never heard of Brunello Cucinelli, nor had I enough money to buy his suits. Yet through the power of film, I find myself in admiration of the man. It’s not a political documentary; it’s a human one.

With Do Us Part, Reed Arnold turns a wedding-day nightmare into an honest look at the one we choose versus the one we almost chose. It’s a romance that keeps the laughs light but sends you home still chewing on its questions.

For the most part, I had fun with Spider-Man: Brand New Day, showing that the only good Marvel movies since Avengers: Endgame are the Spider-Man movies. This movie is too long and mishandles the pacing in the second half, but not so much that I can’t overlook the flaws and recommend it. This film could have been better if new eyes had been put on the final script and the plot elements streamlined.

In the end, I just wanted The Odyssey to feel like an epic, grand adventure, and, like the Lord of the Rings trilogy, I wanted this story to say something about humanity. Anything that felt inspiring or profound. Instead, we just got this grand adventure all for the sake of being a grand adventure. Sure… many will find that enough for a fun summer movie, but what we really want is a great movie. One we’ll remember for decades to come. We’ll be lucky to remember this film a month from now.

The misadventures land in the same neighborhood as American Pie, but each one is specific to the character living it, not just a retread. It’s an over-the-top sex comedy that fully commits to the bit, and the cast is exceptional.

Moana is a disaster — a beat-for-beat retread that trades the cartoon’s energy for a low-energy live-action shell and never justifies why it needed to exist. Here’s hoping Disney takes the hint: stop making live-action adaptations of Disney classics.

Costabile’s Familia works because of an incredible cast and a gritty script. It’s proof that even a familiar story can still hit hard when it’s told with honesty and authenticity.

This one survives on strong performances and Erwin’s confident sense of place — not groundbreaking cinema, but a well-made piece of American cinematic history.

Supergirl is profoundly awful, an embarrassment, and I’d like to offer my sincere apologies to The Marvels. You are, by far, a better movie than this Supergirl.