Randy Cordova

The no-holds-barred comedy generally works, largely thanks to a game cast that plunges into the raunchy material with gleeful abandon.

This is a wonderful movie.

It actually is quite funny. It is also warm and empathetic, though a viewer's reaction to the film might vary depending how they view the subject of assisted suicide.

It is clean, crisp and passionless. You almost wish for some Bravo sleaze to add a little edge to the proceedings.

An affectionate documentary.

A movie that never quite comes to life, despite its title.

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.

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

Above and Beyond is a straightforward, rah-rah documentary.

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

Although the visuals are spectacular — a barren Colorado River looks like a landscape from a science-fiction epic — there's not much else here to grab on.

It's fascinating and unpredictable, so much so that the fate of Irene almost becomes a secondary concern. And thanks to the very clever and very compassionate way that Farhadi has crafted this film, that's not a flaw.

People Places Things is filled with that kind of heart-piercing comedy that makes a viewer cringe and laugh at the same time.

If you like a little bit more in a movie — say, characters that are mildly interesting or a plot that's a wee bit logical — stay far away.

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.

Writer-director Noah Buschel (he was behind the Corey Stoll boxing drama “Glass Chin”) has crafted an odd little film that is sometimes compelling, sometimes maddening.

The movie is not uninteresting, but a viewer isn't breathlessly waiting to see how things will wrap up, either. By the third act, you even start to get impatient with the characters. That's not exactly a ringing endorsement.

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

Cate Blanchett gives a ferocious performance as the steely Mapes, and she mines some genuine emotion out of the material.

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.

Despite all its noble qualities, the movie boasts a stiffness that keeps it from ever feeling fully alive.

If anything, the movie's third act is the only thing that feels a bit a disappointing. The plot is carefully constructed, the performances are rich (both girls are excellent), the characters are believable and a sense of dread grows throughout. Heck, the movie is even great to look at, with its period sheen and slightly muted colors.

Even if you've never watched a whole episode of "Dora the Explorer," you'd have to be a grinch not to be slightly charmed by the whole thing.

It looks great, Abbott is twitchy and terrific and you really want to like it. But it's never particularly involving, and it becomes even less so as it progresses. Ultimately, it's just a gorgeous, gruesomely wrapped package with little inside.

The movie makes some observations about the worth of human life — the title refers to the monetary value put on the life of the injured waiter — and the economic class system, but they're not terribly interesting or surprising.

Nick Ryan’s documentary looks at the disaster by using interviews, actual footage and re-enactments. The latter move undercuts some of the movie’s authenticity. Granted, there probably wasn’t another way to film it, but it muddies the film’s sense of truth.

Roth's tale is fairly twisty, as the behavior of the women grows increasingly violent and more outrageous. The two are not simply nut jobs; Roth presents them as a form of avenging angels who target philandering husbands. That's an interesting premise, but the movie lacks the depth or layers to make that truly compelling.

The movie is a pretty humdrum affair when it focuses on humans, even when actors are playing characters based on real people.