Pat Padua

The film’s execution isn’t entirely convincing. It’s not the actors’ fault.

Like Sergio’s unusual modus operandi, Radical takes some time to click, its first half as unstructured as Sergio’s classroom. But at about the halfway point, when the kids discover the excitement of learning, it becomes as thrilling as any blockbuster.

All this sporting entertainment turns out to be an unexpectedly mellow affair of the heart, with Bernal completely winning you over.

For all its faults, My Big Fat Greek Wedding 3 manages to just get by on pretty scenery and a meticulous inoffensiveness. What else is there to say but, “Opa!”

To reference yet another cultural touchstone, Aporia comes across like an expanded, indie-film version of “The Twilight Zone.” It’s never going to set the world on a new and unfamiliar course, but it does its job well enough.

Directed by Mary Harron from a screenplay by John Walsh, the thoroughly unengaging film is a remarkable achievement, but only considering the misspent potential of its juicy source material.

Somehow, for all the work that went into the film, it comes across as something that may have worked better as an audiobook.

The artistry is enough to keep children and adults watching. It may help that Mario gains power by eating mushrooms — a good message about healthy eating, on the one hand, yet one with an obvious psychedelic resonance at the same time.

In this wildly uneven melodrama by writer-director Zach Braff, no member of the talented ensemble cast is entirely able to navigate its messy plot. That a few actors do manage to stay afloat for occasional breaths of air seems like a divine miracle.

While “Missing” is just a cheap thriller, one can’t help but wonder whether, in the hands of more inventive filmmakers, the screen time that has come to define personal interaction might find a richer dramatic purpose.

For the most part, 2nd Chance is right on target. But in the end, its aim isn’t quite true.

Behind all the gore-splattered walls and domestic rancor lies a sweet-and-sour bedtime story of good triumphing over evil. That said, please leave the kids at home.

Though lacking in the script department, this cinematic wonderland delivers on one promise: escape, to a place of such natural beauty that even these affluent characters, however cardboard, are forced to take stock of the important things in life.

The Good House has a lot of potential and features some attractive amenities, including dramatic conflict and a seasoned cast. But like a subpar property, it just doesn’t show well in a highly competitive market.

Far from a nostalgic package of greatest hits, “Moonage Daydream” suggests that pop music is at its best when it’s mysterious.

Writer-director Zach Cregger’s script takes these various paint-by-number horror elements — a vulnerable debutante, an unfamiliar house, a hidden room — and colors outside the lines.

Despite some quality craftsmanship, “The Good Boss” ultimately doesn’t pay off. Capitalism should be more fun than this.

Actress Nana Mensah (“After Yang”) makes an impressive debut as a writer-director with “Queen of Glory,” a dry comedy of culture clashes, both ethnic and generational.

Despite its broad comedy, typical of “Dukes of Hazzard” director Jay Chandrasekhar, the film has some tender and wise moments. And even if you don’t get all the ethnic jokes, there’s plenty of family drama that anybody will recognize, no matter their background.

The archival footage is exciting enough, but editors Erin Casper and Jocelyne Chaput, who co-wrote the script with producer Shane Boris, make judicious use of split-screen, circular stencils and other visual effects, varying the rhythm just enough to make this world seem even more magical.

It’s Southern-fried “The Blue Lagoon” meets “Murder, She Wrote” — and topped off with a sprinkling of “To Kill a Mockingbird.”

Harbor no illusions about Lost Illusions. It’s no stuffy costume drama. Just close your eyes and imagine its characters in modern dress, toiling away in digital publishing, and its wild delusions and deceptions could be happening right now.

Although the pacing of the film — written and directed by Scott McGehee and David Siegel (“What Maisie Knew”), from a story co-written with David Spreter — can be as slow as the clouds over Big Sky Country, the flawed young characters grow on you, their troubles gradually becoming as mythic as the landscape that surrounds them.

It’s all entertaining enough, in a shaggy way. But if the director can’t stay focused on his own subject, how are we expected to do so?

Dual takes awhile to get into gear, ending on an unresolved note. But it’s a funny and provocative struggle over the meaning of life.

So much of Ambulance works like a charm, but acting-wise, it could use a deeper bench.

The filmmakers make just as much magic on the ground as some do in space.

It’s a fantastic idea, but the execution is inconsistent. Alice, the movie, dares to go through the looking glass, but it doesn’t entirely know what to do once it gets there.