David Lewis

Take Every Wave remains entertaining because of Hamilton’s awe-inducing skill on the ocean, and his determination to ride the waves as long as his body will allow.

In the end, it’s left to Shaye to carry the film, and she does so with aplomb. The “Insidious” franchise may be running out of places to go, but Shaye appears to be just getting started.

By the time the credits roll, we don’t achieve a much deeper sense of who John DeLorean really was — only a better understanding of why this complicated figure continues to befuddle screenwriters. DeLorean probably would have preferred it that way.

At the end of the day, it's all just a nihilistic trifle, yet before the final sign-off, we can't help but think twice about what else is lurking on the internet.

It’s hard to deny that Shyamalan remains one of our most prolific, longstanding filmmakers, and that his work continues to make an impression on our culture. His tense, never dull “Knock at the Cabin” makes us uncomfortable at times, and few punches are pulled. Perhaps he’s found a formula that will take him to new, interesting places.

It’s never easy to translate visually the inner turmoil of a struggling artist, and “Gauguin” is a prime example of that.

Director Byung-gil Jung, a trained stuntman, is an expert in staging action set-pieces, and for fans of dazzlingly violent shootouts on motorcycles and buses, this brutal revenge tale should be right up your alley, even if the proceedings often get sidetracked with a confusing back story.

Intelligently made and contains some impressive set pieces.

The by-the-numbers film is not hard to sit through and won’t offend anybody, but its lofty, worthwhile message doesn’t feel earned.

Throughout the film, we always feel ahead — way ahead — of the narrator, even if the movie does contain a certain sense of dread for Trump detractors, as the inevitability of the election draws closer.

In the end, Chi-Raq is a positive movie that wants to jolt us into doing something about the very real emergency in Chicago. Along the way, the execution of the narrative gets muddled, but there’s no denying that this risk-taking film has a pulse. A strong pulse.

A little more character dimension would have made these between-the-sheet sessions a lot more charged.

Fortunately, some of the people around Cameron turn out to be more interesting. The best in show is John Gallagher Jr., who brings out both the creepy and comforting sides of “ex-gay” instructor Rick — a seemingly nice guy who’s oblivious to the harm that he’s inflicting on his charges.

Clearly, this is not a film for everyone, but even though the routine gets highly repetitious, some of the heavy metal numbers are stirring.

Halloween Ends is far from a great finale, but it’s a decent showcase for Jamie Lee Curtis, whose place in film history has long been assured because of this role. Will this be the last we see of Laurie Strode, or the “Halloween” storyline? It’s best to wait for the box-office reports. After all, franchises never die — they just change shape.

This is a film that wears its anti-tech bent like an old James Bond wristwatch.

Assassination Nation won’t get any points for narrative cohesion or character development, but it’s a timely, visually arresting statement about how pandemonium in this country threatens to become the new norm.

This is an ambitious movie that didn’t come quite together in the editing room.

The Virtuoso covers well-worn territory — the assassin story is almost a genre unto itself — and director Nick Stagliano, hampered by a predictable script, can’t bring much new to the game.

The uneven, misanthropic French comedy Slack Bay, one of the weirdest period pieces in quite some time, is an odd combination of “The Discreet Charm of the Bourgeoisie,” Monty Python, and “Laurel and Hardy,” with some cannibalism, incest and gender identity issues thrown in.

There’s no denying that this imaginative puzzler has moments you won’t soon forget.

It all gets a little unwieldy at times, but Shooting the Mafia is far from boring. We can’t take our eyes off it, just like a photo that’s out of focus, yet somehow remains arresting.

Dogs are notorious scene-stealers in the movies, but in the sappy yet mildly entertaining Dog Days, the humans mug just as shamelessly as their impossibly cute canine counterparts.

This film doesn’t know exactly what it wants to say.

To be sure, Big Pharma execs make for natural movie villains these days, but this story could have used a tad more subtlety, something that was in short supply here.

It’s hard to dislike a film where almost every character, no matter how small, brings something to the screen, and because of that, Wilson World is worth inhabiting for a few hours.

It’s competently made but boring — and desperate.

It’s obvious that this is a well-intentioned, sensitive labor of love, and Hooper’s strategy of keeping it safe is bound to bring in folks who might otherwise avoid such material. For the rest of us, we must settle for a film that is solid but never quite soars.