Neil Genzlinger

Some of the frights work reasonably well; and Ms. Ferland is convincing. But there aren’t enough surprises or innovations to make this one stand out in the sea of horror fare that comes along this time of year.

It’s a net broadly cast and woven of implications rather than of indisputable evidence, but — especially given the tobacco industry’s credibility problems — you’ll probably be inclined to think there’s some truth to the film’s allegations.

Cristin Milioti (“How I Met Your Mother”) is so quirkily endearing in the lead role that she makes it easy to just go with the airy tale.

The film wants to spur individual changes in behavior, but there’s a fair amount in it that might discourage you from even trying.

The director, Mike Flanagan, who with Jeff Howard also wrote the script, demonstrates rare patience for horror fare as he builds toward the macabre.

Mr. Moore has basically made an earnest but not very entertaining pro-Clinton campaign film, occasionally funny, momentarily heartfelt when he takes up the subject of universal health care and the lives lost for lack of it. Against the rest of his work (“Bowling for Columbine,” “Roger & Me”) it’s fairly tepid stuff.

The movie isn’t interested in fully developed characters, just carnage.

Billie Joe Armstrong of Green Day is usually pretty appealing when he dabbles in acting, and he’s appealing again in Ordinary World. But after a promising start the script lets him down, and the film turns into a predictable midlife-crisis yarn.

The film is at its best when it’s in parody mode, though it keeps that card too close to the vest for much of its two-hour length. The humor, not the monster, is what you’re left wanting more of.

This film isn’t content to be merely a “never forget” reminder; it wants to convey just how deep and lasting the pain is, from this attack and, by extension, many others.

The title character is a child, but two adult actors, Kathy Bates and Glenn Close, really give The Great Gilly Hopkins its considerable heart. This movie, though uneven, is affecting because of these two reliable stars.

To make the premise of a 30-year-old who acts like a 15-year-old work, Mr. Pollak has made everyone else in the film act like a 15-year-old, too. It doesn’t quite click.

The frosty landscapes have a subtle beauty, pale and sometimes shrouded in mist, giving the film a very different look from what often comes out of the big studios — somber, which is appropriate to the story.

The film doesn’t unearth anything that hasn’t already been voiced, and it could use more details on the scope of the phenomenon. But with more police shootings in the headlines just in the past few days, it’s nothing if not timely.

Seed: The Untold Story is one of those documentaries that get you riled up about a situation but leave you feeling that nothing significant can be done about it.

This film, directed by Nicholas Stoller and Doug Sweetland, is a harmless enough way to occupy a youngster for an hour and a half. It’s just not especially rich in extraordinary characters or moments.

John Moore, the director, and Dan Kay and William Wisher, the screenwriters, don’t have anything new to add to that familiar dynamic.

Everybody involved with the awful comedy Is That a Gun in Your Pocket?... owes Aristophanes an apology. It’s one thing to borrow a guy’s premise; it’s quite another to transform it into something this unwatchable.

The way to watch is to ignore the image burnishing and just feel the moment.

The film effectively recreates the sense of confusion over how to try to contain the leak and what might happen if the fuel ignited.

There’s not an ounce of suspense in any of this, because you’ve seen it all before, and the director, Jon Cassar, seems uninterested in veering from the well-established formula.

Ms. Ryan’s muted approach may be what we’ve come to expect of looks back at this period — nostalgia always comes with a lot of browns and grays, and with plenty of voice-over (in this case, Marcus’s letters to Homer). But she executes the formula well.

Every new generation has to learn the lesson: Comedy success on the small screen doesn’t guarantee the same on the big screen. If anything, it guarantees the opposite.

It’s not clear whether The 9th Life of Louis Drax is deliberately inconsistent or merely an example of confused filmmaking. One thing is certain, however: It sure leaves an unpleasant aftertaste.

Skiptrace settles for a warmed-over plot, tedious fight sequences and humor that’s heavy on crotch jokes and pratfalls.

Mr. Morelli mixes live-action and animated scenes to good effect. He doesn’t have time to give his characters depth, but there’s pleasure in figuring out how they connect and pondering the movie’s modest themes.

Too much happens too quickly in The Hollars for the story to be credible, but the film has some likable qualities, among them the fun of seeing actors in unexpected roles.

Revenge is the theme and cheeky is the tone of In Order of Disappearance, a delicious Norwegian film full of icy landscapes and icier hearts.