Kate Erbland

Although Farr layers on the creepy until the last frame of The Ones Below, the film's ultimate reveal is hardly shocking, and that the film spends a gratuitous amount time unspooling it long after it's clear what has gone down feels indulgent and unearned.

Deadpan in her delivery and facial expressions, Zadie is indeed a mess, but she’s working her way toward something better, and Meghie’s frisky comedy gives her the space to make some strides. As the weekend amusingly crumbles around her and the rest of her cohorts, Zamata tentatively approaches something like maturity (and definitely like getting the hell over Bradford), giving shape to a mostly freeform narrative.

The wit of Robinson’s series still occasionally peeks out in Someone Great, especially when her central trio are interacting, but smushed into a 92-minute running time, little of the best bits can actually breathe.

A nerve-shredding space thriller that starts strong before falling prey to blunter dramatic twists, few of which are as thrilling as the original idea that sets everything in motion.

Mostly, though, it does only that: Shock. Basic, trite, and without any hope for anything better ever happening.

Fine enough, really, but if the first film was the kind of thing that never goes out of style, “The Devil Wears Prada 2” will last a season. That’s all.

Kabbalah Me is most satisfying as a personal artifact that traces Bram’s quest, bumps and all, and it stumbles when it attempts to lay on educational aspects.

The devil is in the details, and the details? Well, they’re in the kind of patchwork-guessing and random sign-seeing that so many are forced to endure as they embark on the horrors of modern dating. Brooks just takes them in some delightfully daffy (and occasionally deeply scary) new directions.

While Rebecca Frayn and Gaby Chiappe’s script works hard to give all of its players dimension, such an overstuffed narrative tends to do the opposite, limping through sub-subplots and continually introducing new characters, leaving its main attractions to twist in the wind.

For now, he’s a lone gun, but “Solo” ably lays out how and why that might change. We may know where he ends up, but for now, we can’t wait to see where he goes next.

While Call Jane might suffer from a litany of the usual first film missteps — a tricky tone often hobbles it, as does a bent toward gliding over history in service of telling a singular story — Nagy’s affection and respect for women is a strong fit for the material. And Banks, who has stealthily proven her ability in a variety of genres, both in front of and behind the camera, turns in a career-best performance as Joy, a woman who is about to undergo a shift of her own.

It’s good enough, rousing enough, compelling enough.

It’s an impressive first feature, and while fans of zippy midnight movies might balk at its slow-burn opening act, the film eventually builds to some nutso body horror and a strong sense of mythology that announces Garai’s arrival as a filmmaker to watch, no matter the genre.

Set It Up is a classic rom-com brought to life by a pair of wonderfully well-matched stars who seem to revel in the genre. This is cinematic comfort food, the kind we’ve been starving for.

For a film ostensibly about sex, Mark, Mary & Some Other People doesn’t seem to be much about actual desire; its compulsions are rooted in the pressures, expectations, and general idiocy of youth. That, at least, feels real.

Not content simply to make a finely tuned undersea action film, Macdonald reaches for something more significant and comes up short, trapping his own treasures under a tidal wave of thwarted ambition.

Schloss compellingly combines the rangy wildness of hormonal teenagehood with Sadie’s more terrifying instincts, toeing the line between pissed-off teen and possible psychopath with ease. Her Sadie is both brutally dead-eyed and weirdly charismatic; you simply can’t turn away from her, even when you really, really want to.

Come for the espionage thrills, stay for the wrenching dissection of what it means to really love someone. That’s what really cuts deep.

If only the story that surrounded it was as strong and well-crafted as the locales and people who populate it, The Photograph would be more than worthy of affection. As it stands, it just never quite develops into anything more.

The whole thing is overstuffed with enough narrative threads that it should require a feature film-sized outing to answer them all, but Entouragemerrily skips over whole chunks of vital narrative in order to give it a glossy Hollywood ending, the kind that would seem forced, well, even in the movies.

Being perpetually online sucks, but movies about it don’t have to, as Not Okay shows time and again.

There’s a deeper, more serious film at the heart of I Want You Back, but a bent toward offering up off-kilter comedic set pieces instead keeps it from hitting any harder truths.

Mostly, it’s Stallone who impresses here, as a disarmingly open and self-aware icon whose hardest lessons have left a mark on him.

We can’t all have a supeheroic squirrel to help find our own purposes in life, but Flora & Ulysses posits that we don’t need one — just a willingness to welcome their special kind of magic, in whatever shape it may take. Cynics, beware, “Flora & Ulysses” is coming for you.

Rich in its execution and careful in its approach, The Sounding resonates.

Occasionally, both Johnson and Penn — unquestionably talented performers — nearly get Daddio back on track.

On Chesil Beach offers up so many tricky tonal changes, enough that Cooke eventually gives them over to a single note: limp.

Even Besson’s most bold choices – and this is a film that goes weird, and then just keeps getting weirder – don’t seem so revolutionary when packaged in such well-tread trappings and increasingly shoddy writing.