Gregory Ellwood

There are moments of genuine magic that make you wonder what this movie could have been. But do they linger like that imaginary friend you’ll never forget? In this case, perhaps not.

Despite a talented cast, the comedic aspect of the movie is tepid at best. Outside of Ariel’s character (Edebiri saves a lot of it), the jokes are obvious and predictable. Moreover, Ariel is the only well-rounded character in the movie despite, maybe, the ego-driven Moretti.

Ultimately, the biggest disappointment with “Relay” isn’t the big twist, you see that coming a mile away. The issue is the execution of everything thereafter is almost comical.

Too much of Moana 2 is simply far too familiar to make it anything more than a convenient escape.

Despite a committed performance from Benedict Cumberbatch, the end result truly doesn’t coalesce either from an artistic or cinematic perspective.

What’s fresh and compelling are Wilde and Hoffman. They are so stellar together that the film’s multiple endings work because they are front and center in them. In the end, almost despite Araki’s efforts, they make having “Sex” worth it

Disappointingly, and despite the best intentions, Durham’s overwritten script diminishes some potentially truly moving moments over the course of the picture. There is simply too much clunky exposition.

When the laughs fade, the tone feels all too familiar. Despite superb work behind the camera and some picturesque Estonian locations, “Bubble” is less original than it wants to be.

[Kurzel's] depiction of the action scenes is as close to a filmmaking tour de force as you can get. Even for those who know the fate of The Order and its members, Kurzel and editor Nick Fenton will keep you riveted. Until, alarmingly, they don’t.

Bale and Pike are superb. Despite some melodramatic tendencies and strange choices in Cooper’s script they make you have sympathy and compassion for each of their characters.

Sure, Vikander and Olsen are superb as Mia has to constantly stop herself from wringing Virginia’s neck, but the whole endeavor increasingly feels flat.

Despite a very frank and welcome illustration of gay sexuality rarely seen in modern media (in this manner at least), Greater Freedom continually teases us with storylines and subject matter by choosing to frame this era through a relationship that it cannot rationalize.

While the musical elements often take the movie to impressive artistic heights, it’s not just the storyline that ends up hindering Better Man.

The film’s inherent problems, however, are two fold. First, the third of the picture is an absolute slog. The Zellner’s may have though this was a creative choice to make the comedic scenes funnier when they finally hit, but it simply doesn’t work. Second, the funny bits simply aren’t as funny as they should be.

While Bercot's intentions are admirable, she and co-screenwriter Marcia Romano have conjured up too many moments that play out like thousands of courtroom scenes you've seen before.

His characters may spout Kant and debate the ethics of different human interactions, but it's only sugar coating on top of what is effectively a simple and familiar story.

The initial inspiration was clearly there, but the execution simply falls short.

In a vacuum, Langley’s true story is quite remarkable, but sadly, the elements don’t truly come together in this somewhat by-the-numbers film.

Cranston has his moments and you have to laud his attention to detain in channeling Trumbo’s unique voice and mannerisms. Unfortunately, he’s so committed that his character borders on being a caricature.

At almost two-hours Worth somehow feels almost twice as long. Granted, we understand it’s a cliché to describe a film in such terms, but Colangelo and Borenstein are trying to cover too much ground that is, for lack of a better word, repetitive.

Demange, who earned glowing reviews for his debut “’71,” tries to guide all these plotlines and characters with a steady hand, but it often feels too unwieldy. There are simply too many storylines and threads competing with each other. The result is a movie that it feels like snippets of a life instead of a portrait of one.

The film feels 30 minutes longer than its 109 minute run time mostly due to the fact that “Paper” seems distinctly like three different films.

It’s one of those well-intentioned efforts that feels inherently too safe. There’s nothing wrong with that, but Roher teases that he knows he could reach higher.

The movie wants to make a statement about the intersection of art and family, but it’s all too muddled to add up to anything that astute.

The Program works when it has you questioning how on earth this secret could be kept so quiet for so long when so many people knew exactly what was going on.

Alfre Woodard may have graced us with the performance of her career.

Foster is so good you’re often rooting for Stoll to succeed more than Nyad. And sometimes a performance like that is all you need for a feel-good story like this one.

While Leigh transports you back to 1819 through these rich characters, he simply tests the audience’s patience in getting to the heart of the story. There is an abundance of formal speeches and long monologues in the film, and they are often arduous and repetitive.