Carla Meyer

In I'll Sleep When I'm Dead,' master of stylish criminality Mike Hodges presents a nighttime London of sharp suits, distorted jazz notes and shiny luxury sedans cruising dirty streets.

Sexy and intoxicating.

Musician Charlie Sexton brings charisma and a haunted quality to Townes Van Zandt, the legendary Texas musician who was a Foley pal, drinking buddy and fellow teller of tall tales.

Leoni is a very attractive woman, and she should be credited for giving a brave performance, but her character starts to produce involuntary shudders when she appears onscreen.

Lacks even mild drama.

Unlike Arnold Schwarzenegger, however, Vin Diesel shows no discernible comedic skills.

Muniz, however, is hampered by Stripes' constant moping, which brings out the "Malcolm in the Middle'' star's whinier tendencies.

Teen Titans never reaches that sweet spot where adult and kid humor align in a single gag.

Here is more ambiguity, in a film that needs less of it.

Cloying mix of screwball comedy and drama.

The only clear message to emerge here is that Kruger is a world-class talent.

The body-swap movie “It’s What’s Inside” dazzles up to the moment its plot gets going.

House of Spoils suffers most from genre hybridization. The more explicit horror moments feel grafted on to what is essentially a character study with mystery elements. But as “Speak No Evil” recently demonstrated, Blumhouse no longer signifies low-budget, terrifying horror. The brand has become shorthand for movies lacking clear identities.

Before it becomes entirely too Australian, the well-crafted haunted-hand horror movie Talk to Me perfectly captures the one-upmanship of social-media-fueled youth culture.

The film rarely matches Crudup's performance, appearing confused itself about whether it's farce or drama.

As it speeds toward conclusion, “Supremes” also stops subverting its more maudlin aspects, allowing a descent into soap operatic moments.

Laura Dern is not a wizard. She cannot make the dumb and formulaic elements of her romance/travelogue movie “Lonely Planet” disappear. But Dern brings such authenticity to Katherine, her confident, matter-of-fact successful author character, that her performance often outweighs this Netflix movie’s flaws.

Buscemi is characteristically likable here, when Del, mercenary in his treatment of human and beast, should not be so likable. Such is the curse of Buscemi, the delightful killer from “Fargo.”

Teen sex comedies always have more homoerotic moments than you can shake a ... whatever ... at, but Eurotrip seems overly concerned with penises and predatory men. This brand of humor, a time-honored crutch for comedy writers, is both lazy and unseemly.

The whole cast is likable and the scenery lovely, making this only the second-worst Shields beach movie, after “The Blue Lagoon.”

Dax Shepard from MTV's "Punk'd," in his first major big-screen role, steals Without a Paddle. Not that it's too hard to do.

At its titanium core, M3GAN is a mostly on-the-mark commentary on our tech dependence.

Swayze's presence crosses the line from curious to bizarre and adds a heavy layer of cheese to Havana Nights.

It's engaging and transparent at once.

Although this story line’s turns are easy to anticipate, the seriousness with which Fellowes approaches it is refreshing in an otherwise lightweight film.

In White Chicks, the gross-out humor is minimal, no character comes off too badly and lessons are learned. Oh Wayanses, where are thy teeth?

The always fierce Bassett is a little too fierce here, reacting with unwarranted emotion to each romantic twist and turn.

A street-dance film that's lively and silly and about as "street" as a Britney Spears video.