Abbey Bender

The film ends with a riff on the final moments of The Graduate, a frustrating suggestion of a much better work.

While writer-director Evan Oppenheimer's tale of love, sport and Italian culture captures the landscape with a pleasant sheen and certainly makes Florence look like a lovely vacation destination, its narrative contains little emotional pull and too few surprises.

Nothing ever feels like it's at stake — the drama here is whisper-thin.

Its emotions prove curiously inconsistent, hinting at darkness but never committing fully.

Chloe and Theo is a film that operates entirely on a vague sense of uplift.

Longtime camera operator Stephen S. Campanelli's directorial debut is frustratingly by-the-book, with all the trappings of a movie marketed to rowdy fifteen-year-old boys.

More than anything else, Supercon is a drag: The heist plot offers none of the excitement typically associated with the genre. If you find repeated use of the phrase “ball cancer” hilarious, you’ll be well served; if you don’t, well, it’s a tough sit.

Emory Cohen's performance elevates juvenile-detention-center drama Stealing Cars above the level of disturbing cautionary tale.

All in Time is best when it's not forcing its slight narrative toward fantasy.

This is the type of lightly educational, aesthetically appealing, big-hearted nature film that makes for ideal family viewing.