New York Magazine (Vulture)

Lane elegantly juggles the many different perspectives on Flaco, the scientific and preservationist impulses as well as the inevitable anthropomorphism and dreamy symbolism. She finds in the bird’s journey plenty of hope as well as caution, while her playful filmmaking keeps things moving along entertainingly.

At this point in our collective superhero experience, it’s strange to see such a major installment surrender so much of its run time to scaffolding for things to come. But watching Brand New Day feels like watching the work of a group of people who’ve forgotten what made these films so successful in the first place.

Koreeda doesn’t have it in him to make an alarmist dystopian tale, and Sheep in the Box remains tender and sun-dappled as it eventually steers its main human characters toward healing.

Enola Holmes 3 will pass the time, mainly because Bobby Brown is still fun to watch, even if Enola’s lighthearted goofiness has been tempered somewhat. Still, one does wonder how much longer they can keep this going.

The result is something that’s splendid and sprawling while remaining insulated from major emotions.

Remake may be a film about death and loss and grief, but it’s not one of conclusions. In the end, McElwee does something perhaps unexpected but also heartbreaking and indescribably generous: He preserves the mystery of his son’s life.

If you’re only looking for bloody, wet horror with bodies broken and bent unnaturally and traumatizing set pieces, you’ll find a few visceral thrills in Evil Dead Burn. But if you need horror to emotionally earn its nastiness when dealing with a theme as important as domestic violence, you’ll find it as soulless as the Deadites that Alice must destroy to claw her way toward an uneasy survival.

Moana isn’t the worst of the live action Disney remakes, or the ugliest, but it’s the fastest in terms of the amount of time that’s elapsed since the original, which is its own extra depressing stat.

It would be easy to look at Couture as slight. But its observational curiosity hones in on the tender qualities of day-to-day life, where emotionally ground-shaking revelations sit next to the mundane. But there’s no time to waste dwelling on the wanting rather than the living required of us. After all, there’s always work to do.

Before it surrenders to the conventional in its final act, Minions & Monsters is irresistibly awash in the liberty of being the seventh installment of a franchise so consistently successful that the powers that be approved a story line that pivots on the advent of sound.