Kimberley Jones

Genial and unbothered, Confess, Fletch never climbs higher than mere adequacy.

Teenage is an art film – an engrossing one at that – so it isn’t required to respect Queensberry rules vis-à-vis documentaries.

There isn’t a false step from the quietly devastating Farahani; her tour-de-force performance carries the film through its rocky stretches.

The material is interesting, and the production values are top-notch. Anushia Nieradzik deserves special notice for her costume design; her luxurious dresses in deep shades of purple and magenta race the pulse more than anything particular in the plot or characterization. It’s all quite well done, if only a touch too decorous.

Bardem injects a shaggy, compassionate humor throughout, aided by a wry and moving ensemble cast and co-writer/director Fernando León de Aranda's eye for the offbeat.

You don't just root for Harold and Kumar to get the girl, get the weed, and, above all, get the burger – you want to hang out with them while they' doing it, and see if they'e free next Friday night, too.

Little more than a constant and occasionally pretty imaginative sex show.

Warmed my heart about as much as the cold cream Angèle slathers all over her wrinkling clients.

In manipulating its many disparate characters to bump into each other and set plot lines in motion, Intermission walks a fine line between clever and contrived, with the scale tipping more often toward contrived.

The film, a distinctly secular take on Waugh's religiosity, is far more interested in the battle of blind faith vs. rigid unbelief and its devastating effects. Herein, everyone is complicated – by their station, their philosophy, their God – and everyone is complicit.

The internet is infinite. So, too, are the ways it can breed creepy behavior and new opportunities to commodify human connection. People’s Republic of Desire explores only a tiny swath of the internet of grossness, but it’s a subject so epic it deserves much longer examining than a quick 95 minutes affords.

All told, The Young Victoria is a very well-made if not especially memorable picture, moving with all the grace and steadfastness of a waltz Victoria and Albert share, but absent any urgency or anything particularly exclamatory.

The film is less successful at exploring the chinks in her armor – the stuff that makes her human, and a person of interest. Chastain is great – she’s always great, right? – and the brittle braininess she radiates is the film’s crowning seduction.

For a film about looking for a sign, looking for solace, Room quite brazenly offers neither. It isn't an easy film, but the world's already got plenty of easy and easily digestible films.

The movie lumbers on some more, reiterating the obvious and relying on overfamiliar imagery. Audiences have a long year to wait for Part 2. Would it not have been better to leave them breathless than heaving a sigh?

It neither embarrasses the original, nor is superior to it in any way.

Very little here begs to be paid attention to.

A film that is at once elegant and sublimely silly.

Yes, the 84-year-old Maggie Smith is back as the Crawley materfamilias, and as ever she’s the MVP.

The film stumbles a bit in its third act, when war kills the good times for good.

This is in fact the end – it is what is. We’ve had some good laughs. Let’s part amicably.

Manages the neat feat of feeling sweetly inevitable rather than boilerplate predictable.

A staggering document of the lengths parents will go to for the sake of their child.

The movie can be funny in fits, but too often the scripters go for the obvious and uninspired.

It's all infuriatingly simplistic, and the performances help matters little. Quinn and McTeer are wholly uncompelling.

Good, clean fun, with none of the icky aftertaste so common to “family friendly” ware, Drumline proves irresistible in more ways than one.

Has very little soul to speak of, but it's got swagger to burn.

Die-hard Downton fans aren’t going to grumble at the chance to spend more time with well-loved characters, and there are plenty of bright spots along the way.