Justin Lowe

It's commonly expected that a self-described "thriller" should deliver some, well, thrills, but actor-director Zoe Quist's self-indulgent third feature turns out to be practically inert.

Much of the naval action is realistically and thrillingly staged with blazing cannon fire and slashing swordplay that sufficiently diverts attention from the sometimes unrealistic special effects.

Nalin and cinematographers Anuj Dhawan and Swapnil Sonawane do an admirable job profiling the experiences of their selected subjects, although some trimming of the 115-minute runtime would help tighten the narrative focus.

Monson does succeed in editing the frequently dissimilar footage together into a fairly attractive package, although an animated sequence depicting the power of cosmic forces and another illustrating an historical timeline of human events feel rather too forced and self-consciously showy.

Step Up All In and Into the Storm writer John Swetnam’s debut is just as derivative as his earlier films, but also demonstrates that his dearth of imagination extends to directing as well.

Mustang fanatics will be thrilled by the level of access that Ford provided the filmmakers to shoot at the company’s Dearborn, Mich., headquarters and interview the Mustang design team headed by chief engineer Dave Pericak. Even so, it may be difficult to escape a sense that the film sometimes plays like an extended product promo.

The film’s greatest virtue is certainly the raw, unguarded moments that Yu is able to capture while interacting with the wrestlers.

Building on a string of B-movie action titles like Assassin’s Bullet and Ninja, martial arts veteran Florentine doesn’t need any schooling on running an efficient and energetic production.

Lee makes a credible transition from directing comedy, but relies too frequently on sub-par special effects and poorly staged reenactments that only inconsistently pump up the action.

Ashley Benson gives a striking performance as the target of an anonymous hacker in Branden Kramer’s ingenious debut feature.

At just 70 minutes it comes across as rather too tentative and brief to amount to much more than a sensitively observed but ultimately inconclusive coming of age narrative.

If similarities to mumblecore dramedies seem appropriate, be advised that by comparison, that subgenre is way more involving than Never will ever be.

Crucially, Litz misses almost every opportunity to build atmosphere and create suspense, or even a hint of heightened drama, rendering the tone of the film virtually somnambulistic throughout.

New World Order demonstrates a distinct lack of originality.

Thor, who partnered with screenwriter Ashlin Halfnight on their debut feature Diving Normal, crafts Astraea as an eerily resonant piece of speculative fiction sustained by a consistently elegiac tone and realistic performances, rather than grandiose narrative devices or intrusive special effects.

The film’s central conflicts are almost stereotypically outlined, with the flawed locals arrayed against intrusive outsiders, and Doleac’s characters don’t display much more depth either.

Both unassuming and surprisingly affecting in its DIY authenticity.

Kim keeps the action sequences tightly focused, particularly in the tense opening segment, but tends to let dramatic scenes go on for too long after they’ve conveyed their point.

Shea's intense focus on constructing an overly intricate plot isn't borne out by the film's visual style, which is more workmanlike than inspired.

There’s much that international audiences will find relatable and enjoyable in the film, which is graced with a particular empathy for human foibles and appreciation for the specific humor to be found in everyday family life.

Gently amusing while avoiding needless sentimentality.

To say that The Package is one continuous dirty joke with an outrageously absurd premise wouldn’t be an exaggeration. It’s also a funny, sweet, raucous teen comedy that’s by turns ridiculous and raunchy, but thankfully never too profound.

This assuredly crafted exploration of the intricacies of early 20th-century social stratification...soars on the strengths of sympathetic scripting and striking wildlands cinematography.

Wise’s filmmaking style remains consistently engaging throughout the series as he demonstrates a characteristic ability to elicit particularly salient comments from interviewees, many of them already well-accustomed to media attention.

DeNucci has a good sense for period detail, costuming and accessorizing the cast with a color palette ranging from earthy yellow through fashionable beige to muddy brown. Stylistically though, the film doesn’t have much in common with its most distinctive progenitors, missing an opportunity to recreate an authentic 70s aesthetic.

Interweaving two distinct storylines linked by recurring characters imbues the narrative with a powerful resonance though, somewhat undercut by the more prosaic contemporary scenes, which lack the same degree of tension as the mountain segments.

Tiresomely unimaginative feature.

Michael and Thomas Matthews’ debut feature Lost Holiday gives the impression of an in-joke that never quite lands.