Noel Murray

The Island runs hot and cold, with clunky comic set-pieces alternating with moments of genuine wonder and surprise. But even at its most misbegotten, the movie’s always thoughtful, examining what we value — and why.

Some of that professional lingo (like calling contracts “shows” and first assignments “debuts”) makes the story function as a sly metaphor for the entertainment business; and Byun’s stylish action sequences juice up the film’s second half.

Though the movie lacks a strong central story, screenwriter Simon Allen and director Toby Meakins have come up with a genuinely clever concept that could be repeatable in multiple sequels — provided that the first wave of Netflix viewers aren’t too put off by the film’s many gross-out moments.

Why Don’t You Just Die! is too cartoonish and glib to have much to say about Russia or about genre films in general. But it is stylish and snazzy — a confident throwback to the knowing exploitation pictures of yesteryear.

"Apocalypse” is equal parts exhausting and impressive — though thanks to the giddy fun the filmmakers appear to be having, it’s mostly the latter.

For the most part Hank’s heartbreak resonates. By the end of After Midnight, he and the audience both may wonder whether the bogeyman and true love are equally mythical.

The Lighthouse builds to a tragic incident and its disturbing aftermath, depicted with the dread and sick irony of an old “Tales From the Crypt” comic. But for the most part, the fears here are social, not supernatural.

The movie is also a strong spotlight for Salazar, a consistently fascinating and magnetic actress whose funny, warmhearted and ultimately inscrutable Maria represents the potential for meaningful human connection always just beyond Harrison’s reach.

Very little about this movie feels fresh or original; but a talented cast, a solid Alex Carl script, and director Andy Palmer’s energetic pace and playful tone do make Camp Cold Brook unusually fun.

Though its milieu is often ugly and its story fairly soft, You'll Get Over It gets by thanks to its cast. The French film industry has a knack for finding attractive, expressive young actors, and this movie is no exception.

Jacobs focuses almost exclusively on Dobson's theories and mission, which he illustrates by contrasting jaw-dropping images of the sun's surface with people ignoring Dobson's entreaties to "Come look at the sun."

Kelly tries a bit too much, favoring shock and absurdity over consistency and coherence. But the attempt alone is exciting; and it offers a refreshing alternative for those who prefer their holiday entertainment to be spooky, not sentimental.

The dialogue is blunt, and the plot overly centers white heroism; but the period detail is well-observed, and the filmmakers show a real understanding of the ingrained attitudes and anxieties that make moments of social progress so difficult.

It began a transition in the series away from horror and toward kid-friendly adventure.

Even at its goofiest, Through The Never brings back the communal appeal of those early concert films, which were often just a way for young fans to bond with other young fans over the music of entertainers who seemed to understand what they really wanted.

It takes time to adjust to the movie’s style; and some may still find the “more talk less violence” approach too inert. But many of the conversational standoffs between Read and the Krays’ gang (including a few tussles with the brothers themselves, played by Ronan Summers in a dual role) are as brutal as any shootout.

Dormant Beauty always comes back to the difficult decisions that family members have to make for each other, contrasted with the huffiness of outsiders who try to project their own beliefs onto someone else’s business.

The Take tells a compelling story of courageous, industrious people, but it begs for a second act.

The sensual sex scenes and raw violence of God's Sandbox make it pretty much an exploitation film, and as an exploitation film, it isn't bad.

A short, sweet fantasy film that works best when it leans into the possibilities of its situation — and less well when it tries to be funny.

From scene to scene, Lopez and Caro do fill these broad outlines with real feeling, bringing a personal touch to old pulp archetypes.

The grubby melodrama should appeal to adventurous moviegoers — and to the director’s small-but-fervent cult — but even that crowd should brace themselves for something slow-paced and opaque.

Caveat is like a gothic horror tone poem, with pungent notes of decay.

Some viewers may find Joe's stressors too negligible; and honestly, Tilt is too shapeless and esoteric to be great. It flags considerably after its first hour, stumbling toward a frustrating ending. Still, there's a frankness to this picture that compensates for the overall slightness. It's the rare thriller that looks to combine "Five Easy Pieces" and "Taxi Driver."

Like the real-life events that inspired it, Broadcast Signal Intrusion is most thrilling when it’s at its vaguest — like a juicy rumor that’s impossible to confirm.

Perlman has a physical presence that makes him look like he stepped off the cover of a paperback. He brings soul to this old hired gun, who’s become a creature of habit, mired in a daily routine of killing other people and waiting to die.

Hospitality is both an exercise in atmosphere and an actors’ showcase, letting its cast settle deep into the skins of these people who just need something in their lives to break their way … even if they’ve done nothing to deserve it.