Although it has a somewhat strangely inappropriate title that sounds good and doesn’t signify much at all, the Chinese cops and gangsters thriller Chasing the Dragon II: Wild Wild Bunch is a well mounted, suitably entertaining yarn.
Pavarotti doesn’t reinvent the documentary form in any way, nor does it really foster a deeper appreciation for opera in the uninitiated, but it is a well told story of a life more or less lived well.
Framing John DeLorean is an entertaining, high wire filmmaking experiment that does well by the controversial visionary at its centre, while transparently deconstructing itself in the process.
Bringing a reported close to the nearly twenty year cycle of X-Men movies for Twentieth Century Fox (although, depending on where you draw that line, it could only be nine years for the end of this cycle), Dark Phoenix caps things off with a half-hearted shrug of a climax where no one involved – in front of or behind the camera – seems like they want to be there very much.
A messy, overly convoluted, and ultimately disappointing sci-fi/horror mash-up, Project Ithaca takes a kernel of an original and novel idea, bogs it down with cliches, and talks more about how cool and smart it thinks it is instead of showing the audience anything remotely entertaining or intelligent.
Ma, a silly B-movie thriller from prestige picture director Tate Taylor (The Help, Get On Up) and starring Octavia Spencer as a murderous middle aged woman terrorizing a group of hard partying teens, is an oddly entertaining film with enough good ideas and basic storytelling chops to paper over the fact that it’s all a bit flimsy and obvious upon closer scrutiny.
Halston is a flashy, stylish, decently entertaining, but also resoundingly hollow documentary about a high fashion icon who valued his privacy and even in death refuses to be overly analysed.
A sweet, low key, and complex romance, Photograph finds writer-director Ritesh Batra returning to his native India after a couple of forays into English language cinema with a renewed sense of vigor and purpose.
Always Be My Maybe is the best case scenario for a predictable romantic comedy where any savvy viewer will know every single thing that will happen from the second the movie starts.
The mediocre and largely forgettable Canadian comedy Sorry for Your Loss blandly mashes together a bunch of easily digestible cliches about life, death, and family, jokes that are deliberately made in poor taste, and a handful of good performers putting in decent work for an ultimately losing cause.