Alison Willmore

Whoever’s coming out on top in the industry battles, there’s no question that the action in Godzilla Minus Zero beats out the recent Monsterverse movies, and even its own predecessor, with kaiju carnage that’s all the more thrilling for how it’s shown from the perspective of the humans in danger of being crushed, either deliberately or incidentally. The movie may keep you waiting on its monsters, but when they show up, it delivers.

Pitt may be one of the last certified movie stars, despite the ugly reputational problems he’s always just managing to evade, but he’s an unpredictable screen presence who is often at his best as a foil, not as the gravitational center of a narrative. He may look strong and admirably silver flecked in his camo pants and flannel onscreen, but he’s in the exactly wrong sort of project — one that relies on him to carry everything himself.

If Resident Evil is his least interesting film to date, it’s still a deftly done, bitterly funny riff on the absurdities of the genre.

White does as much as she can to make Prima Facie cinematic, but she’s not an inherently inventive filmmaker. Both she and Erivo ultimately run up against the limitations of the material, which ultimately treats Tessa not as a person but as a vehicle for certain themes.

In the film’s feverish finale, orchestral music soars over a montage of physical agony and passionate performing, a prolonged battering of grand emotion. It is, curiously, the worst part of a good drama that otherwise trusts its lead to transmit the wonder and the horror of his situation himself.

There may not be a lot of there there to I Play Rocky, but its affection for the chaos of filmmaking and the way it sometimes produces magic is palpable, even when we know where this story is going. Especially when we know where the story is going, because the whole point of this enterprise is that we’re going to get somewhere familiar in the end, and we’re going to enjoy the journey anyway.

Your Mother Your Mother Your Mother is a film about faith, grief, fatherhood, and stabbing people to death, and it whips ass in a way that makes its origin story feel downright serendipitous.

As a showcase for Eleazar, who’s best known as either Louisa on Slow Horses or Kat Donovan on Missing You, depending on your streaming affiliations, Misty Green is outstanding. . . . As a film about L.A. as a place where glamor and degradation exist side by side and where veneer-perfect Hollywood smiles mask soul-dead monsters, Misty Green has nothing insightful to say.

What accessibility means to Heder, as a filmmaker who wants to reach the broadest possible audience, and to Heumann and her cohort, who are battling for curb cuts and other changes to allow them to participate in public life, are two very different and sometimes contradictory things.

It’s a film about the small gestures, the minor feats of fortitude and acts of generosity that keep the world running, smoothing over the rough patches in life, though not without effort.