Kevin Jagernauth

For those yearning for the dimly lit, stale smelling room, crammed in that weird corner of the mall, where blurps and bloops rang in your ears and faces were filled with a phosphorescent CRT glow, “Insert Coin” will tickle the wistful longing for that unique and exciting atmosphere. And for those who couldn’t experience it for themselves, this scrappy documentary earnestly tries to convey the giddy and anarchic spirit of the golden age of video games.

A clever assemblage of archival and historical material that unfortunately doesn't quite go far enough.

The Bad Kids falters due to a lack of focus.

If nothing else, Reybaud’s debut flaunts his knack for casting, particularly with the lead performance by Pascal Cervo.

It's not the most complex WWII movie you'll see, but there's no denying the blunt intensity of Fury, and even if it doesn't sustain, Ayer commits to staring straight into hellish eye of war and bringing audiences along to witness every gruesome detail.

Someone Marry Barry is a reasonably entertaining argument that good performers can enliven weak material.

As The Gods Will is a minor film from a major talent, but few middle of the road efforts from directors manage to retain the kind of wholly original sensibility seen here, and have as much fun as Miike is while doing it.

While the film may not entirely hang together, the stakes are low, and its bright spots point toward a promising future for the behind the camera talent.

There is no doubt that Greetings From Tim Buckley is respectful, and thanks to Badgley and Rosenfield, does justice to both singers. But the film never quite connects father and son as each sharing the common bond of extraordinary talent or even similar personal woes.

The Keeping Room attempts a blend of sexual curiosity, home invasion horror and elegiac drama, that doesn't quite work, but whose ambitions are nonetheless compelling.

The greatest benefit of the shock release of The Cloverfield Paradox is that going in cold makes the most out of the film’s bonkers turns.

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

While The Ones Below doesn’t make it over the finish line, Farr shows good instincts, and has an ease for creating tension without overt manipulation, while keeping everything engaging enough that you’re willing to overlook questions that nag after the credits roll.

Yes, it's uneven, more jokes miss than hit, and it winds up taking easy dramatic shortcuts from the more interesting avenues that the script presents, but it's thanks to the lead quartet that the comedy is as engaging at it is.

Maggie is not your standard zombie movie, and while it tantalizingly puts action hero Arnold Schwarzenegger into the lead role, the film is actually low on setpieces, and instead is a ponderous, sombre take on the genre that may leave those looking for a traditional horror flick disappointed.

Working off what appears to be a pretty decent script by Mark Poirier, who does a good job of juggling quite a few story threads and giving each enough attention and depth, Johnson's rigorous and formal approach doesn't allow for any sparks, let alone fireworks.

The film is a mostly workmanlike biopic that unfortunately can never match the energy of the subject it’s trying to capture.

There is enough of a simple charm to A Birder's Guide To Everything that there are worse things you could do with your hour and a half. The lead teens in particular give the material a realness that may not have been there on the page, and the filmmakers know enough not push the quaint story beyond the safe parameters it operates in.

Though Horovitz's directing is workmanlike solid, and while the movie has a certain charm that makes it easy to walk in the door, it gives you little reason to stay.

Competently directed, and delivered with the expected emotional beats, Still Alice achieves its modest goals, but one wishes it had a grander vision.

In Buster’s Mal Heart, many of the intriguing thematic ideas in the first half of the picture, are left adrift in favor of trying to keep the audience on its toes.

Marked with a conveyer belt quality, Kodachrome is every indie dramedy you’ve seen before, just like more of you’ll see after, and unlikely to create a cherished memory that you’ll want to revisit.

Both a disappointment and a missed opportunity.

Runner Runner is content to stay high gloss, with no filler.

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.

Playing with genre is fine, but if you're going to create new rules, you have to play by them too, but unfortunately Warm Bodies continually subverts its own internal logic and basic, believable character motivation to keep pushing the movie along.

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

The engaging opening third of Cooties is enough to make the rest of the 96-minute film a mildly amusing diversion, but as the minutes roll by, you'll wish the brains of the film had remained intact.