Randy Cordova

Strange, surreal and compelling, All I See Is You is a dreamy exploration of a marriage, and what happens when all of its imbalances and insecure quirks are suddenly thrust out in the open. It’s also something of a thriller, and the two worlds don’t mesh in a way that is completely satisfying. Still, it’s riveting to watch everything unfold.

DeCubellis sets up a satisfying, stylish mystery, populated by striking characters and situations.

It’s one part history lesson and one part ode to the rapidly fading quality of refinement. But mostly, it’s a chance to indulge in juicy celebrity stories, catnip for those who love that kind of thing.

White House Down aims to be a low-brow slab of mindless summer fun. Most of the time, it comes pretty close to hitting the bull’s eye.

Breathe is a valentine, but it's a valentine that is quite moving.

For all its ludicrous plot twists and a mystery that falls too conveniently into place, A Simple Favor is just fun. It's light and frothy.

The film is nakedly candid, but Stritch is also a ham who is almost always aware of the camera.

More than simply a look at the conversion therapy, the film examines the bonds between parents and children.

Despite its flaws, Judy can leave you feeling like an emotional wreck by the end.

The buddy comedy Papi Chulo could go wrong in all sorts of ways, so it’s kind of a minor miracle how much it actually gets right. Funny, empathetic and tender, it pretty much sneaks up and catches you off-guard with its sly charms.

While not everything works in Todos Caen — "Everybody Falls" in English — the film is breezy and engaging, with sharp and snappy dialogue. Most importantly, you want to see the two main characters wind up together.

There's comfort food and there are comfort movies. In Lasse Hallstrom's The Hundred-Foot Journey, you get a full helping of both. And guess what? It's all very comforting.

Bird Box is scary, but it also feels very human.

Director Eran Riklis starts the film off with a playful, whimsical tone that grows increasingly darker as things progress. It reflects the life of the movie's protagonist, which finds him facing challenges that would make most people bitter.

Director Michael Dowse (from the underrated Topher Grace comedy "Take Me Home Tonight") fuels the story with atmosphere, with lots of nighttime activity and bustle. He keeps things grounded in reality, though little touches (Chantry imagines her drawings coming to life) add an extra — and, perhaps, excessive — sweetness.

It's bold, nasty and gleefully disturbing, and will stay with you once the lights go up. For horror fans, those are all good things.

Director Susanna White keeps things low-key and absorbing, as the action moves from Marrakesh to London to Paris to Switzerland.

Everybody Loves Somebody doesn’t reinvent the rom-com, but it manages to take the formula, shake it up a bit, and come up with something that feels fresh and inventive.

The Meddler is one of those movies that surprises you by being something it’s not.

The heists are bigger, the illusions are flashier, and the pace is quicker. Even the cast is livelier and more fun. Perhaps best of all, the movie captures the first film’s twisty ability to twirl an audience around, so you’re never entirely sure what’s happened until everything is explained.

Winocour has crafted such a tightly coiled film that once violence finally erupts, it's more of a letdown than an emotional release. But the movie still works, both for its bracing ability to keep a viewer on edge and the sheer force of Schoenaerts' performance.

Gleason is disturbing, brave and compelling, which is exactly what it needs to be.

The movie boasts a tricky structure, but director Jonathan Teplitzky ("Burning Man") does an expert job of sewing together the World War II moments with sequences set in the '80s.

Searching is a thriller with a gimmick. The entire story takes place on screens — we see the action play out on devices like laptops and phones. But the movie never feels gimmicky, which is perhaps the neatest feat achieved by first-time director Aneesh Chaganty.

The dialogue snaps with precision and cringe-worthy humor; at times, you feel like you're having one of those awkward moments in which you watch a couple bicker. The movie is delicately perched between low-key believability and telenovela melodramatics, yet never falls too far to one side.

It's a smart, well-crafted tale that is thoroughly contemporary, yet somewhat old-school in that it doesn't go for cheap shocks. Instead, the emphasis is on mood, atmosphere and some sharply etched characterizations.

The movie is fascinating when it looks at the mechanics of Big Bird, which are physically challenging.

One reason the movie works so well: Writer-director Malcolm D. Lee returns from the original, so the characters feel true to the first film. Secondly, most of the cast is back, and they have the kind of comfortable chemistry you can’t fake. It’s easy to believe these people have a history together.