David Lewis

The technically elegant Voyagers, about a space colonization trip run amok, is easy enough to sit through, but it’s a story in need of more rocket fuel. There isn’t a bad scene in the movie, yet there isn’t a really good scene, either. It’s a quiet psychological thriller, even when it’s trying to stir mayhem.

The film is a reasonably entertaining trifle, though it’s overstuffed with battle sequences and peripheral characters that often consume the main story line.

Fourth Man Out is a coming-out tale with well-worn themes, but its blue-collar spin and appealing cast give it a charm that’s hard to resist.

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.

Still, Silk Road remains watchable because both Robinson and Clarke are interesting screen presences. And there’s some humor, which consistently lands better than the thrills.

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

Though Michelle’s transformation into a family-loving gal is hardly convincing, the film still moves along quickly, and McCarthy has some memorable moments in which her comic chops are on full display.

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

A B-movie with a few thrills and plenty of inane dialogue.

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.

The Choice has a twist or two toward the end, and they’re about as cheaply maudlin as the movies get. The only choice is to make sure a barf bag is nearby.

Jessica Tuck gives an emotionally raw performance as Morgan’s mother, and Amanda Plummer’s turn as a trailer park resident sheds more light on Jordan than all the other scenes combined.

Regardless of how one might feel about its inherently icky subject matter, Dark Crimes needs more narrative momentum. The cast is game, the production design is impressive and a few surprises await — but even as things heat up, the film somehow remains cold.

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 videos speak for themselves — and provide a worthwhile time capsule of a turbulent era.

In essence, the film is a series of reflections, but fortunately for us, many of them are thought-provoking.

We don’t always get a full picture of Barbara Lee, however, there’s no doubt for a single frame that this consummate politician — a pragmatic firebrand — is long overdue for recognition beyond the Bay Area.