Kevin Jagernauth

While slight, the film’s genuine feeling and overall comedic consistency has enough breezy charm to make it go down easy and pleasurably.

Professor Marston And The Wonder Women tackles one of the most curious chapters of comic book history with an overly classy sheen.

Unlike some mock biopics or music documentaries that rely on a particular kind of specificity to succeed, Popstar: Never Stop Never Stopping is universally, gloriously stupid. And that’s not a slight — it takes a considerable amount of smarts to make something that so winningly observes the ridiculous facade of the pop music sphere, but gives it a wide-ranging reach.

Totally bonkers, hilarious and wickedly clever, The Double is special and singular filmmaking at its best.

The documentary is often fascinating, even as it eschews any kind of traditional narrative.

The mileage will vary depending on how you've felt about the progression of the series so far, but if you're even mildly curious to find out what awaits the outrageous and exasperating Henry Fool, Ned Rifle is worth making some time for.

Your mileage with the movie will depend on how much you like these guys to begin with, because even if you're a fan, the one joke premise has a hard time sustaining a full length movie.

The young couple exists in a bubble of love that has an air of reality sucked right out of it.

Chappaquiddick hardly lands with the power of an exposé, and doesn’t bite hard enough to spur a reconsideration of the Kennedys. The film revives a chapter in Kennedy history, but what it means nearly forty years later is never quite clear.

The trio (Hoffman/Keener/Walken) give top shelf performances as we've always come to expect from them in A Late Quartet. But it's just too bad that they're in service of Yaron Zilberman's film, which takes the unique focus of a string quartet in Manhattan, and puts it in the middle of a standard and unsatisfying soap opera, that spins off into one subplot too many.

It's enjoyable and toe-tapping for what it is, but it's also extremely lightweight stuff.

There are a thousand stories to be told in the studios where these session players cut some of the greatest records of all time, which makes it disappointing that there isn't more to be found in the documentary The Wrecking Crew.

The sincerity and honesty of the stories within, as odd as they are, make The Final Member worth seeking out.

The film is not only one dimensional when it comes to its subject, but also of the time and place where Hendrix arrived.

The picture’s strength is in its honesty.

Somewhat spastic and overcooked, Seven Psychopaths might have a few too many.

It's the picture's lack of focus that eventually diminishes whatever little The Bling Ring has to say.

The Kid Who Would Be King blows the dust off an old tale, and makes it invigorating and inspiring for viewers who will be forming their own round tables of world-changers for generations to come.

Vanderbilt chooses to present the tale with a lighter comic touch in the early stages, and it’s a tone the picture can’t overcome in its final third.

Though given two committed turns by a tremendously sexy and vicious Arterton and a solid-as-always Ronan, Byzantium often feels as gray and lifeless as the corpses in the film.

Operating for much of its running time with an equal balance between guilty pleasure grittiness and decent father/daughter drama, the film’s conclusion tips toward the latter in an unconvincing shift toward sentimentality and Life Lessons that not only is out of place, but betrays John’s own code of stoic endurance.

It’s a film that desperately wants to upend the tropes of the comic book movie, but perhaps more shocking than anything that comes out of the mouth of its often obnoxious titular hero, is how blandly the picture sticks to the origin story playbook.

Spinning Plates navigates an industry that is more diverse and challenging than ever, but with this simple, fulfilling sampling, we learn that those behind the stove aim for the same kinds of rewards, accomplishments and satisfaction as their predecessors did.

The Good Lie is so manufactured around a particular dramatic blueprint that any sense of spontaneity, surprise and engagement are sucked right out of the picture.

Pawn Sacrifice certainly whips up a dervish of energy, and as a piece of dramatic entertainment, it's mostly engaging, and features character actors doing very good work.

screenwriter Amy Jump and director Ben Wheatley are less concerned with the message than with the madness, and their resulting picture is heavier on style than substance.

The Audition is a harsh, and often cheap, picture that offers a fragmented view of a family diseased by the pursuit of perfection, who yet enable the behavior to continue at the ongoing cost of their happiness.

Utilizing non-professional actors, and blurring the lines between documentary and fiction, Stop-Zemlia is a sympathetic portrait of the tidal forces of teenagehood. Yet, despite the film’s quiet sprawl and yearning ambition, Gornostai’s painstakingly observant eye never uncovers fresh insight into the thrumming heart of that transformative moment.