Joe Leydon

Segel makes an engaging impression throughout Forgetting Sarah Marshall, gamely making himself the butt of many jokes that involve Peter's non-macho proclivities.

Slither begins briskly, gradually accelerates and eventually achieves a breakneck momentum that makes the wild ride even more exhilarating.

A beautifully lensed but ploddingly paced tribute.

Koepp does a masterful job of grounding his intimations of the supernatural in a totally persuasive down-to-earth context.

The cinematic equivalent of a modestly amusing shaggy-dog story that meanders toward a clever punchline.

The result is a movie that is not merely disappointingly uneven, but irredeemably unbalanced.

The Prisoner is in many ways a justifiably angry film, simmering with moral outrage. But it is also -- surprisingly, maybe even amazingly -- hopeful.

This nostalgia-drenched rockumentary remains a hugely entertaining treasure trove of witness-at-creation anecdotes and enduringly potent ’60s pop hits.

The final scenes of Dealt are all the more affecting for illustrating Turner’s newfound willingness to accept things he once deemed unacceptable without significantly compromising his personal code of honor.

An ingeniously twisted mockumentary.

Skillfully entwines stories of three young women drifting in and out of a Jersey City juvenile detention center.

Sausage Party is something far short of Shavian in terms of sophisticated dialogue — really, there is just so much novelty value one can milk from repetitious fusillades of F-bombs launched by animated characters — but it is difficult to deny the hilarity quotient of a movie so exuberantly and unapologetically rude and crude.

The Original Gangsta Lizard gets a largely satisfying reboot in Shin Godzilla, a surprisingly clever monster mash best described as the “Batman Begins” of Zilla Thrillers.

Agreeably amusing but unduly extended, Matru ki Bijlee ka Mandola suggests what might have resulted had Rodgers and Hammerstein lived long enough to attempt a Broadway musical about the Occupy Wall Street movement.

If ever a proselytizing documentary could be described as assaultive, Survivors Guide to Prison might sport that label as a badge of honor.

Slight but lively sequel. Aimed squarely at moppets with piddling attention spans.

While it's highly unlikely that anyone predisposed to championing Obama would be won over by the sound and fury here, there's no gainsaying the value of "2016" as a sort of Cliffs Notes precis of the conservative case against the re-election of our current U.S. president.

Amiably slapdash docu about The Comedians of Comedy tour mixes on-stage performances, backstage bull sessions and downtime tomfoolery to generally satisfying and frequently hilarious effect.

Exceptional performances by two femme leads and sensitive but unsentimental storytelling throughout.

Tread abounds in memorable images and interviews that range from darkly comical to deeply disquieting.

Efficiently engineered by veteran Aussie director Russell Mulcahy (“Highlander,” “Razorback”) to achieve a hugely satisfying balance of seriocomic action sequences and sometimes boisterous, sometimes sentimental male bonding.

This stunningly shameless follow-up to the 2002 theatrical sleeper (and homdevid mega-seller) offers more of the same -- a lot more -- while repeatedly upping the ante in terms of offensiveness. Which, of course, should greatly -- and profitably -- please is target aud.

Equal parts audacious dark comedy, wish-fulfillment fantasy and over-the-top, tongue-in-cheek action-adventure.

Once again displaying the kinetic grace, authoritative physicality and heavy-duty footwear that have made her a cult favorite for fans of the “Underworld” franchise, Beckinsale is fun to watch in both the real and fantasy fight sequences that take up much of the briskly paced Jolt.

You can’t help feeling that something terrible will happen at any moment, unless something worse happens first.

Helmer John Luessenhop ("Takers") and a small army of scripters go back to the bloody roots of the long-running franchise to concoct a better-than-average horror-thriller that relies more on potent suspense than graphic savagery or stereoscopic tricks.

The aggressively spectacular (and, again, CGI-intensified) action set-pieces are generously plentiful and undeniably thrilling, and the lead players are charismatic enough, or over-the-top villainous enough, to seize and maintain interest.

Strong performances, a few dramatically potent scenes and a vividly specific evocation of locale barely offset hackneyed and muddled elements in a script that plays like a first draft.