David Lewis

The rambling Life Itself is a multigenerational drama about the messiness of life, but the emotional impact of the movie gets lost in the messiness of its screenplay. And though there is not one subpar acting performance, the film itself comes off as an exercise in self-consciousness.

This is a movie that derives most of its suspense on whether a piece of paper will be signed, not a strong basis for dramatic tension. Here and there, we see moments of genuine emotion, but even then, it feels like we’ve been there, done that.

Despite all the mayhem, “The Golden Circle” often feels slow and belabored, particularly in its middle section, when inspiration is nowhere to be found, and the chaos seems to be there just for the sake of being there.

The best thing about All I See Is You is that it’s not afraid to experiment. But it’s an experiment that went wrong, a film in which ambiguity trumps complexity.

It’s so uncritical of its subject that it has the unintended effect of undermining its mission, which appears to be recruiting new devotees of the faith.

This is a film that, in some ways, is too complex for the kids, yet leaves the adults feeling left out, too.

Kin is not a snoozer, at least, and the Baker brothers are certainly not untalented, but their genre-mashing experiment doesn’t work on any emotional level.

The best thing about “Living Boy” is the performance of Cynthia Nixon, who plays Thomas’ emotionally unstable mother.

A wannabe weepie about a woman diagnosed with breast cancer, is Spain’s equivalent of a Lifetime movie, but it’s often lifeless, even with a decent performance by Penélope Cruz.

When viewing the action thriller London Has Fallen, there’s no escaping the reality that you’ve seen everything on the screen before — many, many times. For every bullet, and you will lose count, there is a cliche.

The movie is made even worse with embarrassing flashbacks, painful voiceover, and inane dream sequences. It’s like a Merchant-Ivory film – on Quaaludes.