Chuck Wilson

The film is jammed with incident and detail but there’s little flow to the storytelling.

Cox’s delivery of Churchill’s “We will fight on the beaches” D-Day speech surely ranks among the best, but it’s a problem when a narrative feature’s most powerful scenes are drawn from historical text.

The film gains power in the final third...one wishes Thompson had chosen to view the great artist's lives through the eyes of the women who loved (and tolerated) them

The need to tell a story and the desire not to collide in Live Cargo, the narratively uneven but visually exquisite debut feature from writer-director Logan Sandler.

[A] slightly uneven yet deeply affecting documentary.

A last-minute flurry of action and a final plot twist aren't enough to redeem this busy but tedious thriller.

Scimé and Adkins have real chemistry, but the script is forever cutting back to quirky, talkative Katie, and any chance of exploring the complexities of a relationship between two men, one of whom is intractable, is lost.

You have a movie with everything it needs save one crucial element: emotion.

The road-trip drama Who's Driving Doug is earnest but not overly sweet — a blessing for a film with built-in sentimentality traps.

Krampus, sad to say, is a disappointment. It's alternately funny and intense (don't take the wee ones), but never enough of either to form a cohesive whole.

Led by the honorably dour Firth and the charisma-free Harington, MI-5 is convoluted and dull, though Harry's revenge against that dastardly mole is pleasingly diabolical. But it's too little too late.

An overlong but deeply felt film.

The virus is spreading, but the filmmakers don't appear fully committed to the idea of a zombie apocalypse, so no sense of dread (or suspense) ever takes hold.

It's all pure hokum, perfect for a Shirley MacLaine remake, but it's lovely to see Lafont carrying a film so effortlessly.

Mitchell's unwillingness to define the parameters of the specter haunting Jay leads to a finale that's muddled and confusing, and definitely not scary.

Ganem and her talented co-stars work hard, but Riedel's pacing is always a beat or two behind their mad energy, making for a film that's enormously appealing, but not quite addicting.

For most of its running time, Diving Normal doesn't work, and then it does, which makes it both maddening and memorable.

Sam Esmail’s first film has a visual assurance that suggests the arrival of a gifted director, but the characters he’s created are so off-putting that viewers aren’t likely to appreciate the beauty surrounding them.

Imagine I'm Beautiful is a thematically ambitious character study trapped inside the limiting strictures of a crazy-roommate thriller.

[A] slow-moving yet soulful documentary.

[An] uneven but intriguing found-footage horror flick.

As Above, So Below is sometimes creepy but mostly silly, which is too bad because the film's cramped subterranean setting is inherently unnerving.

Hellion offers Paul his most adult screen role so far, and he's very fine, but the movie belongs to Wiggins, a newcomer whose innate gifts are a perfect echo of Paul's.

[Webber's] performance is crazy good, and so emotionally charged that viewers may be forgiving of a finale overloaded with silly twists.

Watermark is a documentary filled with images both beautiful and wrenching, yet the film as a whole is a disappointment.

A compelling but ultimately unsatisfying film.

Dark House is one nutty horror movie, but what's crazier still is how well it works — until it doesn't.

The stark prison Sabrina and a half dozen final contestants inhabit make the torture chambers of Hostel look inviting, but to their credit (perhaps), screenwriter Robert Beaucage and director Josh Waller never sugarcoat their grim tale.