Gregory Ellwood

The film is at its best when the storyline gets dangerously real and Bullock’s character struggles to justify the back room king making of a campaign with the needs of the country’s poor majority.

Perhaps it worked better as a theatrical endeavor, but the result is a film that feels like a collection of familiar hospital set storylines thrown together without a true compelling throughline.

Parthenope’s fictional life story may actually not be as intriguing as Sorrentino thinks it is. A movie that begins with blistering sex appeal really starts to lose momentum in its third act.

As Love Me unfolds, it becomes an exercise to explore how very human emotions affect evolving artificial intelligence beings. Although referring to it as an exercise sounds unfairly cold. The movie is certainly not that. Both Stewart and Yeun bring passion to their characters. . . But something feels off.

The film’s saving grace, of course, is Squibb. When the movie needs her the most, she delivers. She brings the laughs and – almost – gives the film the emotional ending it’s aiming for.

The result, as hinted earlier, is a high-end B-movie that would have been in heavy rotation on cable television’s TNT or USA Network as a wallpaper movie in the ’00s. And there is something genuinely fun about filmmakers wanting to dip their toes back into those waters. But, for that genre to work, it needs to be less bloated than this and, more importantly, not end by teasing a sequel.

Love may not be as erotic as many expect. The gratuitous sex may eventually start to bore many viewers. Some may even take off their 3D glasses because they simply aren't necessary. Yet, for all its faults, Love is a film that somehow still resonates.

As always, Dinklage is exquisite in a mostly silent performance that conveys the pain and survivor’s guilt Del has bottled up inside him following the incident.

Ellis ratches up the intensity to an almost stomach-turning level. It’s partially the filmmaking. It’s also the recognition of how dangerous this mortality game has become.

An impressive cast and significant real-life events can’t trump the fact it’s a badly made movie.

As the film progresses, the narrative choices somehow become even less believable and Lellouche begins to throw everything and the kitchen sink at the screen.

Styles, night and day here compared to his work in that other fall release, wonderfully inhabits a working-class man fearful of public scrutiny but unable to hide his true self.

At its best, a welcome addition to the increasing number of contemporary Native American stories seen in the films such as “Songs My Brother Told Me,” “Wild Indian” and FX’s “Reservation Dogs.” At worst, it’s a disjointed narrative that sadly overstays its welcome.

This sort of storyline could go wrong very quickly, but thanks to some fortuitously funny moments, Vallee’s assured direction and Gyllenhaal’s spectacular performance it’s surprisingly compelling. And, let’s be absolutely clear: it’s Gyllenhaal who keeps it all together.

Despite the shootouts, some epic vistas (frankly, not as much as you’d expect), and a few fleeting moments of genuine tension, it all feels flat.

Beyond some obvious pot shots and on-the-nose metaphors, it begins to feel more and more like a missed opportunity than smart satire.

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

What keeps “Jimpa” from collapsing on itself is Colman’s steady turn (don’t forget, she’s so talented she was the only compelling aspect of Marvel Studios’ disastrous “Secret Invasion”) and Matthew Chuang’s wonderfully lush cinematography.

Its admittedly interesting source material, but the movie’s tone is all over the place and not in a good way.

Despite the worthy efforts of stars Tom Hiddleston and Elizabeth Olsen, the Hank Williams biopic I Saw The Light is a shockingly bad movie.

Despite a “you can see it coming” final baccarat game in the third act, designed to crowd-please, it all somehow feels flat and generic. And, worse, decidedly not fresh.

What makes “We Are” worth your time is Joseph’s skill in conveying the euphoria of dance music in the context of an actual movie.

The worst aspect of ‘Rebel’ is that Strong seems to have no vision as a filmmaker. The movie thinks it’s throwing in some wise words about the art of writing, but they are superficial at best.

While the cinematic moments and winks at French pop culture history will be nostalgic for many, it’s the bond between Deneuve and this new Marcello that resonates the most.

All of “Pastoral’s” problems could have been slightly forgiven if McGregor showed a hint of inspiration behind the camera.

The only aspect of the film that even makes it watchable ends up being Shannon’s portrayal of Westinghouse.

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.

It may be bloated, but Moonfall always feels like it’s moving at a somewhat brisk pace. And the filmmaker’s greatest talent is collaborating with visual effects teams to craft images that somehow get seared in your brain.