Christopher Schobert

The Good House ultimately gets more right than it does wrong, but just barely.

This is a standard unsolved mystery drama, the type that would be quite at home on a small-screen police procedural. The setting certainly adds to its interest, but even when the boy’s fate is (seemingly) explained, it is difficult to care.

The Quiet Man is as mysterious as its subject. It is, of course, an absolute must-watch for the Stones faithful. There is no great insight regarding the other members of the band, though.

In the rare moments when this just becomes a film about a woman who loves country music with every fiber of her being, it separates itself and becomes far more than just another story about a star being born.

If Regan’s film is not very memorable, it’s also, without question, wholly believable. She captures the complexities of an abbreviated childhood and early parenthood with real insight, and with Georgie has created a delightful protagonist.

Minahan and Klass struggle to balance the film’s many characters and disparate storylines, but at the same time they’ve created a film populated by people who are wildly compelling.

One of the film’s successes is its ability to subvert expectations.

It is a compelling drama––one based on a true story––and an important one, to be sure. But there are numerous missteps that lessen the impact and slow down the dramatic energy. While this keeps The Best Is Yet to Come from greatness, the film remains a powerful, worthy tale of investigative writing and compassionate reportage.

I Get Knocked Down is both entertaining and insightful, and it is hard not to be moved by Bruce’s MO: “I don’t want to give up. I don’t want to just accept things as they are.” He may worry that he is a one-hit wonder. Still, a hit’s a hit, and getting up again more than 20 years later is admirable.

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.

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

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

For audiences wishing to see two actors dig into juicy roles, The Christophers will get the job done. If you’re looking for a deep analysis of originality and artifice, look elsewhere.

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.

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.

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.

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.

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

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

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

If we spent a little less time on Mary and Percy, and a bit more watching Mary actually create, the result may have been different. Sadly, Mary Shelley is just not alive.

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.

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.

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 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.

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.

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.

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.