United States
The Meg is not a masterpiece, but it is a perfect Jason Statham vehicle: packed with action and still a ton of fun.
By bouncing back and forth between too many stories, Calling All Earthlings, while intriguing, doesn’t provide the complete picture of any of them.
We the Animals is an undeniably moving film, but one whose emotional power is curbed by its similarity to other notable US indies of recent years, failing to rise out of the shadows.
Promise is a terrific short drama that represents another stride forward for director Nev Pierce.
Horn From the Heart is a fine documentary, following Paul Butterfield’s career in a compelling and caring way, enough so that you don’t need to know the music to appreciate the story.
The Darkest Minds brings some potentially daring concepts, but builds them to nothing, with not even its action scenes being a saving grace.
With Laura Gets A Cat, Michael Ferrell continues his knowing efforts within the romantic comedy genre.
You don’t need to be a baseball enthusiast to enjoy Late Life – this documentary about a baseball player’s attempted comeback is a pure, human drama.
Unfortunately, the Billionaire Boys Club takes a common Hollywood film concept and fails to deliver anything more original than its predecessors.
Some reviewers have called Blindspotting a buddy comedy, but that couldn’t be farther from the truth – this is a film designed to make you uncomfortable.
Zoe’s detriment is not necessarily any of its individual parts – it’s that they don’t quite add up to anything more impactful or memorable.
Hot Summer Nights’ story is not adequately interesting to justify the legendary tone, and it winds up feeling anodyne when it should feel explosive.
The Americans is a show that asks you to examine what exactly it is about capitalism that you like, the effect those aspects of it have on other people, and whether your lifestyle is ethical.
Summer of 84 strives in its scenes of tension and horror, but fails in its moments of childhood nostalgia and friendship.
Even with a good hook, How It Ends suffers from lack of vision becoming just a series of scenes that rarely congeals into anything substantial.