Kenji Fujishima

Alan Rickman's film is consistently, and often dispiritingly, mired in the quaint tradition of the classy costume drama.

An immensely gifted physical performer, Donnie Yen isn't strong enough an actor to suggest an authentic inner life to his character beyond a vague sense of stone-faced dissatisfaction.

Much of it feels inconsequential compared to his previous films, but McDonagh's unflagging anarchic energy keeps it juicily diverting in the moment.

Wilson lurches jarringly from poignant melancholy to cartoonish slapstick, unable to settle on a consistent tone.

The film's most crucial shortcoming lies in its failure to illuminate both the inner life of its subject and his artistic genius.

The Promise simply turns this historical tragedy into mere background noise for a flimsy romantic triangle.

The film finds no treasure of gleaming originality in its energetically told but crushingly clichéd anti-capitalist parable.

Katie Holmes's feature-length directorical debut is more earnest than remarkable, but with its heart in the right place.

The film's makers lose trust in the intellectual heft of their material and chose to prioritize empty sensation instead.

The filmmakers are so disengaged from the psyches of its characters that The Whole Truth ultimately plays as little more than the cinematic equivalent of a trashy airport novel that will grip you in the moment before it dissolves from memory immediately afterward.

The deeper Tom wades into this psychological morass, the more Danny's volatile behavior seems dictated by the screenwriters' convenience rather than by any plausible depiction of a tortured mind.

Take away Forster’s hard-working visual style, and what All I See Is You essentially presents is a standard relationship drama, with two generic, privileged people at its heart who don’t become any more striking even as the tensions between the two gradually reach a breaking point.

Black Butterfly plays as little more than the act of snickering adolescents toying with their audience, complete with an insulting final scene that confirms the film as a total waste of time.

Josh Gordon and Will Speck's Office Christmas Party generally smacks of trying too hard to earn its laughs.

Waxwork is certainly no hidden horror gem, but its flashes of wit and genuine enthusiasm for the horror genre are enough to make it a reasonably enjoyable time.

The film is surprisingly amiable, thanks to the commitment of its lead actors and its refusal to condescend to its characters.

If the film is any indication, Jared and Jerusha Hess remain committed to clotting up the screen with ostensibly charming "eccentricity."

Bruce Beresford's film is remarkable for how it manages to indulge so many offensive and shopworn clichés at once.

The film adopts a half-hearted variation on A Beautiful Mind's gimmicky approach to grappling with a man's mental illness.

It’s all window-dressing for an ending that reveals this alternately goofy and self-serious big-budget Hollywood product to be little more than a two-hour prelude to a potential future franchise.

Jorge Michel Grau's ambitions are stalled by a screenplay that seems to have never made it past a first draft.

It has enough ingredients for a reasonably entertaining fantasy adventure—except, that is, for an interesting lead character with an emotionally compelling hook.

Brain On Fire is often effective, and at times positively enraging, but one can’t help but lament the much more disquieting film that might have resulted had the filmmakers been more willing to trust the facts of Cahalan’s case to speak for themselves instead of feeling a need to shove them into uplifting platitudes

All of the film's nuances are ultimately negated by the its relentless canonization of its subject.

The Space Between Us is simply disappointing when it isn’t trying to browbeat its audience into emotional submission.

The titular Transporter is now but a blank slate serving the characters and mayhem surrounding him, a walking metaphor for a franchise that's run out of gas.

If first-timer Aleksander Bach's choices as a director are any indication, he's a filmmaker who cares less about characters and actors than about dubious surface dazzle.

This botched vision accepts the warrior's nobility at face value and sees the story merely as a springboard for high-flying action and CGI special effects.