Christopher Schobert

Eden wants to leave the audience brimming with respect for the survival skills of Floreana’s inhabitants. Unfortunately, the endless scenes of discord are what will be remembered. This is a script problem that’s never solved. Howard’s ambition is to be applauded, but that alone is not enough to make for successful cinema.

Bring Them Down is not a great film. It’s occasionally compelling thanks to its haunting, almost otherworldly locations in Ireland. Mainly, though, what stands out are performances of the ever-intense Christopher Abbott, Nora-Jane Noone, and, most notably, Barry Keoghan.

The Peasants is a histrionic and often-ludicrous bummer, one that wastes the deeply committed performance of star-in-the-making Kamila Urzedowska. The Welchmans deserve credit for developing a unique style. Now it is time to write words that match these images.

With a little more Keaton charm, a sharper script, and a bit more filmmaking verve, Knox may have succeeded.

Undeniably funny, very well-acted, and wise in its tonal focus, Weird plays as entertainment that could have been much, much more. There is still much to admire and enjoy, not the least of which is a genuinely triumphant, note-perfect performance from Daniel Radcliffe.

The stakes are low, drama minimal, structure formless. It makes for a viewing experience that is occasionally enjoyable and largely unengaging.

Had [Ponsoldt] truly trusted his young performers and crafted the script accordingly, Summering could have been something special. Instead he’s made a film as unfocused and forgettable as a rainy late-summer afternoon. These characters deserve better.

It is by no means a misfire and features a trio of tremendous performances from Pill, Gadon, and Mare Winningham. But given the source material and the ingredients, Sorrows certainly qualifies as a disappointment.

Through the performances from Glaser and Brosnan, as well as its unabashed willingness to look extremely silly, False Positive may be worth one’s time. This is Friday-night thriller cinema from the Single White Female or Hand That Rocks the Cradle book, and sometimes that’s just what one is seeking. For anything more than that, look elsewhere. Like, to Rosemary’s Baby. Again.

It is utterly so-so, but it is also, undeniably, so-Ozon.

Seberg never quite makes the case for its own existence, nor does it demonstrate to the audience why its protagonist’s political beliefs were so revolutionary.

Euphoria is undeniably a missed opportunity at creating a drama of frayed sisterhood that feels fresh and unique. The film is also too restrained and unambitious to make a grand statement on mortality.

It falls flat. There are a variety of reasons — one-note characters, an overly-familiar story arc, a laughable sequence of bee heroism (!). (Alternate title idea: “Secrets and Hives.”) Still, there is the work of Grainger and Paquin.... They make Tell It to the Bees watchable, and are worthy of high praise.

The film itself is not a success, but the performance by Mara is complex and profound. If for no other reason, see it for her.

The Wedding Guest is as technically accomplished as any film Winterbottom has ever made. But it all amounts to very, very little.

The reason to see Siberia is, quite simply, the presence of Keanu Reeves.

It’s a so-so affair offering momentary pleasures.

Mark Strong and an underused Brian Cox are fine, and Taissa Farmiga demonstrates why she is acknowledged as one of America’s most promising young talents. But she deserves a better role, everyone involved deserves a stronger script.

While the politics and film as a whole are not entirely successful, there is much to admire in “Wolf Creek 2,” not the least if which is director Greg McLean’s chutzpah. He is a visually adept filmmaker who makes fine use of the broad canvas that is the outback.