Gary Goldstein

Given the subjectively interpretive nature of scripture and ancient religious history, which informs most of the Christian-centric debate here, the result is an often dense, contradictory discourse.

Mell never quite knows how to mine this conceit to best effect. The result: a tonal mishmash involving silly demon-trapping bits, supernatural speculation and lots of yakking that derails the film’s potential tension and credibility.

A tense and gripping thriller inspired by yet another true-life, World War II-era tale of courage and resolve against one of history’s most unthinkable evils.

It’s such an astute and warmhearted journey that it’s hard not to succumb to its underdog charms.

Although it’s an often repellant, uneven film that, in the end, doesn’t amount to a whole lot, there’s something thrilling and a bit liberating about the anarchic vibe that permeates this stylized walk on the wild side.

The movie's intended audience will likely be satisfied by its parade of gory mayhem, cheap thrills and groan-worthy dark humor. Everyone else: You're on your own.

As for the dancing itself, it's nothing short of dazzling.

It's no "E.T. the Extra-Terrestrial." (What is?) But on its own modest terms, the alien adventure Earth to Echo is a lively and likable knockoff that should divert, if not exactly enthrall, tweens and young teens.

Nakache and Toledano...pepper the film with enough stirring emotional beats, crowd-pleasing bits...and vivid supporting characters such as Samba's ebullient immigrant pal, Wilson (Tahar Rahim), that there are distinct pleasures to be had.

This elegant, lushly mounted film, which involves classism, communal fighting, political machinations, and religious and cultural discord, still proves timely given such world events as the Syrian refugee crisis, the Brexit controversy and Pakistan’s ongoing anti-terror campaign.

The movie itself plays more like a corporate recruitment video — or an extended episode of “Lifestyles of the Rich and Famous” — than a deep, discerning dive into an American success story.

The quasi-credible friendship that develops between Emily and Harry gives way to a less plausible romance. But the winning, sympathetic Keaton and an enjoyably puckish Gleeson largely sell the contrived setup.

A sluggish drama about aging and holding onto your dreams.

Under the steady hand of writer-director Mark Elijah Rosenberg, tension and pathos build, slowly sweeping us along with the captain’s fraught yet hopeful exploration.

Strouse’s deft script and Krasinki’s game direction upend a host of familiar moments in ways that are fresh and unexpected — if sometimes overly broad. The terrific cast doesn’t hurt.

The lovely and poignant drama The Artist and the Model stirringly presents art, life and death as one irrevocably tangled trio.

The inevitable head-butting, sexually tense banter between the super-serious (and frankly dull) Cole and the vivacious, near-magically-capable Kelly never quite takes off, nor, surprisingly, does the chemistry between the two leads.

Fisher's separate visit with several still-traumatized American World War II vets who helped liberate the death camps is also stirring - and horrifying.

Despite some diffused messaging and oddly elliptical storytelling, "In the Name Of" proves an absorbing, at times hypnotic drama about religion, repression and sexuality.

As much a commercial for Royal Caribbean cruises as it is a dramedy about a bumpy daughter-dad reunion, Like Father swamps its workable emotional core and adept lead turns with some slapdash plotting and a raft of floating festivities.

Unfortunately, writer-director Ray Yeung leapfrogs over several key emotional beats and points of credibility. At the same time, he plies an ambitious slate of social, sexual and cultural messages, some more fully formed than others.

Elba brings care to the film’s performances, period look and musical elements. But the freeze frames, needless voice-over bits and stalled narrative momentum undercut the picture’s potential power and uniqueness.

A deeper dive into Szeles’ ostensibly complex psychological makeup might have given the movie more heft, though Szeles, magician that he is, clearly remains more about the illusion than the reveal.