Randy Cordova

The film is often moving, and some of the performances have a depth and naturalness. But it moves at a pace that can be maddeningly slow and is often long-winded, two traits that stop the momentum dead at times.

Call it a battle-of-the-sexes comedy set in a devout Orthodox community in Jerusalem. But, in its own quiet and friendly way, the film goes deeper than that, looking at how conservative religious views can clash with more moderate ways.

Lane is an endearing performer, but she needs something, anything, to work with. Here, she's getting by on sheer likability.

Somewhere, deep inside Justice Served, there is the kernel of an interesting idea. But you've got to look hard, because the finished product is pretty dire stuff.

On the Map is more like a sleepy lecture during the last week of high school: You may hear some worthwhile information, but it's not going to stick.

There are quite a few genuine laughs along the way. Director Ken Marino has a firm hand with big, silly slapstick, but he also knows how to make the most of dialogue.

The movie just hits the nail on the head: that sense that we're just going through life, trying to navigate it the best way we can in each moment. There are a lot of things to love about Truman — including the dog — but that could be one of its best and biggest attributes.

Going in Style will probably be a lot more enjoyable if you’ve never seen the original. It’s not that the remake is terrible. It’s cheerful and undemanding, and an appealing cast makes the time go by painlessly enough. But the 1979 film is poignant and layered.

Sneider, who keeps the tone starkly unsentimental, manages to stay fairly neutral with the couple. Both characters are wildly flawed, and you can feel your sympathies shift during their knock-down, drag-out fights.

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

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 characters are fully rounded, and you wind up emotionally invested in them.

You'll admire it and maybe even be astonished by its twisty nature, but that very twistiness can also feel more like a filmmaker showing off rather than something that emotionally engages a viewer.

This wildly distasteful premise is meant to be cute and enlightening, like a modern Frank Capra flick, but this is hardly "It's a Wonderful Life." Instead, the movie keeps tripping over itself.

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.

The film could merely coast on the charms of its three stars, but it's smarter and brighter than you'd expect.

Krasinski is likable and Martindale can make the lamest dialogue sound believable. But even they can't make us invest in characters that are nothing more than a collection of stock quirks and tics stuck in wildly contrived situations.

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.

The most remarkable thing about Ira Sachs’ richly textured new film Little Men is how it manages to be about so much, and yet so little.

Ultimately, Anthropoid is quite gripping, even if it feels like two movies in one.

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

Once the movie is over and you realize how the filmmaker has turned the tables, you can't help but be amused — and amazed.

The charms of the leading ladies are hard to resist, as are their rare moments of clarity and self-awareness. Saunders is a tumbledown hoot while Lumley can generate a laugh with simply a deadpan stare, yet both seem a tad more human this time around. Just a tad.

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

"Unfun" isn't a real word, but boy, it sure describes The Legend of Tarzan.

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 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.

For all its missteps and machinations, the film mostly achieves its goals. In other words, have some Kleenex ready at the theater.