Emily Zemler

It’s self-reflexive at times, and occasionally pretentious in its high-brow approach. But writers and directors Scott McGehee and David Siegel have not only made the story accessible onscreen, they have infused it with a raw emotional life that was less easily attained in print.

Comparisons aside, Mickey 17 is a remarkably solid and compelling sci-fi flick, with an absurdist flair that can only come from a filmmaker like Joon Ho.

There are questions and uncertainties that linger once the movie ends. But like difficult, repressed memories, there is no easy resolution to be found.

Even the film’s title lacks a much-needed punch. Ridley is a strong action heroine, but she deserves better material than this.

The Gorge is chaotic and fun, despite some narrative and design hiccups. It’s too bad it’s not heading for the big screen. This is the sort of thing you want to experience with a lively audience with the sound turned all the way up.

A film can exist for aesthetic value alone, but only if it doesn’t try to expand itself to unreached depths. In the end, Parthenope seems to assert is that beauty is unappreciated until it vanishes—a lesson we all learn too late—but like its lead character, the film remains too shallow to fully understand.

Companion offers a relatively surface-level thriller that asks far bigger questions than its easygoing vibe might suggest.

Diaz and her co-star Jamie Foxx are genuinely charismatic, often delivering lines with a winking sarcasm and likeability. But Back in Action muddles its tone too much to be actually funny, a detriment to the cast’s best efforts.

It’s occasionally diverting, sure, but so is killing time while you wait for your flight to board.

A Complete Unknown never really parses anything new about Dylan or reveals his psychology, instead letting us continue to wonder about the man behind the dark lens. It’s a thrilling, entertaining journey as we do, with performances that never falter by actors who clearly did the work and then let it go once on set.