Geoff Berkshire

A trek across the Himalayas to raise climate-change awareness is respectfully packaged as inspirational comfort food in Pad Yatra: A Green Odyssey.

Essentially a homemovie cobbled together with bland talking-head interviews, director Yuliya Tikhonova’s film offers little to interest jazz aficionados or those simply curious about the band’s lineup of veteran sidemen from the era of classic jazz.

[A] fascinating but only intermittently insightful film.

The lovingly crafted documentary Why We Ride ultimately chokes on the fumes of bombastic self-seriousness.

American Promise succeeds in touching on a wealth of subjects without overreaching.

Slack narrative and abysmal dialogue render the vague generational satire meaningless to anyone unfamiliar with Tolstoy’s work (and depressing to those in the know).

An aggressively obnoxious tone undermines a decent concept and appealing cast.

As violent as its predecessor yet noticeably duller and less outrageous, Machete Kills is dragged to the finish line entirely by its director’s madcap energy and an absurd cast of major stars in strange cameos.

Unacceptable Levels marries folksy astonishment and alarmist speculation in a documentary far too easy to dismiss.

Despite an impressive global scope and admirable ethnic diversity among the interview subjects, the central thesis that women are leading the charge on green issues receives nothing but anecdotal support.

Carefully repeated imagery, in-camera tricks and well-executed fx combine to create a tantalizing visual puzzle that demands full attention, even as the flavorless characters and largely so-so performances risk audience indifference.

A thoughtful, detailed chronicle of the Fed’s origins, responsibilities and shifting monetary policies.

This confused and confusing pic delivers no thrills, chills or anything remotely surprising.

At least the narrative sloppiness and ineptly delivered themes in the script by Brian Bird and Lisa G. Shillingburg (freely adapted from the novel by Jim Stovall) feel of a piece with the entire production.

Character actor Michael Cudlitz’s first leading role is the sole selling point of Dark Tourist, a well-acted but rote and ultimately repellent character study of a psychologically disturbed loner.

"Spark” remains a lovingly made and shot tease, designed to ensure that what really happens at Burning Man stays at Burning Man.

The ensemble’s crack comic timing can only go so far to compensate for uneven scripting.

Even if every word of Coogler’s account of the last day in Grant’s life held up under close scrutiny, the film would still ring false in its relentlessly positive portrayal of its subject.

Results are simple-minded at best, contemptible at worst; most audiences would rather watch anything else.

Less reliant on slow-burn suspense and larded with fake-out jump scares, this is the first sequel in the series that fails to advance the overall mythology in any meaningful way.

Exploiting Lawrence's newfound fame is the only hope this ill-conceived, poorly executed venture has of connecting with audiences before poisonous word of mouth sends potential buyers in search of a more attractive address.

Grim, gritty and ultra-violent, Dredd reinstates the somber brutality missing from the U.K. comicbook icon's previous screen outing.

The low-budget production feels chintzy and impossibly square, even by tyke standards.

A ho-hum exorcism chiller that tries to spice up a formulaic screenplay by converting a predominantly Catholic-fixated horror subgenre to Judaism.