Mark Olsen

Serving mostly as a strong calling card for star Jaime Camil, the film has an appealingly loose, slightly ramshackle charm.

The makers of Lisa Picard Is Famous -- having mastered the obvious early on, set their sights on the unfunny and repetitive.

If the first film seemed indicative of much of what is wrong with movies in the streaming era, feeling inessential and disposable, a cog in a machine rather than something unique, “Extraction 2” is a snapshot of a sequel in this moment, bigger, expanded and even less necessary.

It's unlikely the movie will gain the same ardent following as Raimi's debut, but it offers enough good-time gore, goofiness, scares and screams to leave an audience feeling a certain elated exhaustion.

The Story of Luke is not a saga of epic proportions, but with a huge assist from Pucci's layered performance, takes a premise that could easily be movie-of-the-week sappy and finds a humanizing lightness.

The misadventures of the eccentrically wealthy may not exactly fit the mood right now, but the new French Exit is so genuine in its mix of arch and earnest, idiosyncrasy and earthiness that it creates a space all for itself.

Being a mildly pleasant, passingly amusing light entertainment isn't exactly saving the world, yet the film crosses its wires to blow up even that modest assignment.

The movie feels like a flakey, off-the-cuff blog post that somehow transmogrified itself into a feature-length documentary.

Amiably paced with comfortable, lived-in performances, Arkansas isn’t so much a crime drama or dark comedy as a depiction of a world in which illegal activities and their aftermath are simply part of a way of life.

Wyatt, Monahan and Wahlberg never seem quite settled on what they want to say with the character or the story, so the film feels marked not by ambiguity but uncertainty.

The film leans a little too heavily on Pineda's wide-eyed disbelief at his sudden turn of fortune, leaving a feeling that it could dig deeper into the history and dynamics of the band. Yet Pineda's ebullience is infectious, and Don't Stop Believin': Everyman's Journey is a pleasant story of dreams coming true.

Irrational Man never does make sense of the inscrutable Abe, just as most people, Allen included, remain mysteries to themselves and others. This finally reveals the film to be neither comedy nor drama, but an all too human horror story where the monster is within.

The movie has a fan's heart, a sense of loving every goofball moment, but as directed by Mike Mendez it also seems perpetually caught between being a spoof or playing it straight and winds up falling between the cracks rather than rising above.

Solidly done if somewhat unremarkable, there is nothing particularly wrong with "Broken," nothing that needs fixing exactly, and yet it never fully comes together.

Though Logelin’s story of loss and perseverance is touching, there isn’t really anything deep or convincing about grief or parenting in Fatherhood, making this promising tale something more middling and a touch disappointing.

The original film was not a time capsule; it was a snapshot, capturing a unique time and place. The new film simply doesn’t have the same spark and energy.

An ambitious combination of suspense thriller and brooding treatise on existential themes, The Quarry feels like a throwback to the era of late-night cable movies, when art, ambition and genre pulp would often collide.

There is just enough in Comet to keep it from fizzling out entirely – largely in the performances of Long and Rossum – but its conceits also get in the way of its characters, making it feel fussy and convoluted when it aims for something more simple and elegant.

Winter in the Blood is a difficult film to get a handle on, not least because it often feels like it should be easier to dismiss. But then it locks onto a moment that is unexpectedly arresting and little jabs of poetic meaning or hard-earned truths reel a viewer back in.

An infectious, warm comedy of family and communication and a promising debut as writer-director for Chism. These Peeples are people one should be happy to meet.

With The Intern, Meyers has made another bright, contemporary American comedy with a lot on its mind — and works hard to make it look effortless.

Despite Redford's enthusiasm and best efforts, A Walk in the Woods is a tedious journey to nowhere special.

The film has only the sheer charm of its cast to get it by, and it says a lot about the actors that they nearly pull it off.

Roaming freely between comedy (which mostly works) and drama (which mostly doesn't) before settling on trite sentimentality, the film may not be an altogether unpleasant way to pass the time, but, ultimately, the innocuous Captain Pantoja doesn't earn its stripes.

It's an unsurprisingly ambitious movie from the notoriously, proudly headstrong Crowe, which makes it such a disappointment that it feels so blandly earnest and unexpectedly hesitant, with none of the unnerving conviction the actor often brings even to lightweight promotional appearances.

It's so playful, wicked and unseemly, by the time you realize that the actual plot of this brilliantly sordid satire hasn't started, the party is already over.

The action set-pieces and the comedic character scenes in the film seem to be taking turns and are rarely brought together in a meaningful way.

Really the biggest problem with Dark Skies is that Stewart can never quite decide just what story he is telling — a slow-burn horror parable or paranoid invasion flick — or whether to focus on this character or that, instead struggling to string together scares regardless of how they fit together overall.