Los Angeles Times

Hokum is a fabulous horror film for all tastes.

As the memory of it washes back over you, Omaha lingers, like a devastating short story — devastating because it’s about a pained father for whom the road ahead only seems to get narrower.

If One Spoon of Chocolate ultimately fails as a grindhouse banger, you still might understand why RZA developed this project for more than a decade. His rage at this inequitable country has only grown more acute as America’s racial divides widen and codify. But like Unique, RZA doesn’t know how to fight his way out of the hell that surrounds him.

What’s left is a visually unappetizing Animal Farm that plays as if someone sloppily traced over a masterpiece. And Serkis (who also voices a rooster) doesn’t so much direct it as twist some grand knob with settings like “Louder,” “Faster,” “Jokier,” “Bigger.”

The storytelling is wonky, given the film’s competing needs to be Miranda-blunt about the modern magazine business while pairing marvelously with a glass of rosé.

Sophy Romvari’s luminous debut feature “Blue Heron” is a loving and studious act of remembrance.

That measured approach, exemplified in star Billerbeck’s arresting simplicity and the many fine supporting turns around him, allows us to clock Nanning’s growing awareness of what matters to others, what’s impossible to ignore and how to interpret an unjust world that’s still full of beauty and kindness if you know where to look. Which, of course, includes inside himself.

Thanks to the latest impressive turn from rising star David Jonsson, “Wasteman” even finds a few new notes to play within a familiar stark melody.

Despite Segel and Weaver’s best efforts, they can’t make this bickering duo deliciously awful, the characters proving more grating than hilariously combustible.

Instead of bothering much about dialogue, Fuze is a blueprint of how stress and deference exert themselves upon a workplace.