Hunter Lanier

None of the characters feel real, necessarily, but they’re all immensely watchable in their own right.

The Man Who Killed Hitler and then the Bigfoot isn’t the loony chuckle-fest that many might want and it’s not as affecting a character piece as Krzykowski might want, but it’s a crackpot showcase for a performer who deserves one or two, crackpot or otherwise.

Lying and Stealing comes across as the object a thief would replace an art piece to prevent anyone from realizing it’s missing at first glance.

Every now and then, a line or a subtle moment in someone’s performance has some truth in it, but little is sustained in Bullitt County.

Aaron Paul brings his trademark street-corner angst to the party, and it plays just fine. As child actors go, Murphy is pretty good. McNairy and Winstead do a fine job of realizing that silent, domestic agony that neither party wants to bring out into the open, fearing it won’t go back in.

None of the set pieces are inventive, and the dialogue is either overly serious or hacky ha-has. In addition to the bland everyman at the center of the story, all the supporting characters are soulless mouthpieces.

Screenplays like A Dark Place only get made because they’re familiar. They present intrigue and drama in a way that doesn’t challenge the audience but reinforces their belief of what a movie like this should be. This conformist methodology might make the movie palatable—and marketable—but it doesn’t make it any good.

If you’re hoping Fatman is an explosive, hog wild bullet storm of Christmas camp, dial back your expectations. There’s always next year. If you’re good, that is.

Caught between worlds, Disturbing the Peace isn’t as fun as it begs to be or as eloquent as it’s trying to be.

Putting it in the kindest possible terms, the movie could be passed off as an exercise in style. Because of this, it does manage to be watchable.

It’s Cangialosi’s writing and direction that result in a watered-down, emotionally manipulative experience.

There are occasional moments of inspiration, stylistically and thematically, where the movie hints at its true potential. But most of the time, the movie is tripping over its desire to be noticed.

There’s nothing offensively awful about Ms. White Light, but it lacks a unique perspective.

The intentions of DTF are a little bit of everywhere. It’s sort of about the hollow experience of dating apps, sort of about the lonely life of airline pilots, and sort of about addiction. However, I think its most flattering angle is that it’s about someone slowly realizing his friend is sick—in every meaning of that word—and potentially unsavable.

It’s jolly, childlike in a good way, and unusual where it counts. It’s a pop-up book that should be prominently displayed and never read.