Sherilyn Connelly

It's occasionally imaginative, and, most importantly, never boring.

Ian Edelman's comedy Puerto Ricans in Paris is a much sweeter film than its Snakes on a Plane–caliber title would suggest.

Johnson is genuinely talented. He's often the best thing in bad movies, and Ratner's Hercules is, at the very least, pretty good.

The story is serviceable enough.

Craig William Macneill's The Boy tries so hard to be ominous that it nearly strains itself in the process.

I Am I is a remarkably assured debut for director Towne, especially since she's onscreen the majority of the time, and her script eschews the rules of the standard Hollywood amnesia plot, instead following its own internal logic while not shying away from the darker implications of its premise.

Christopher Denham's Preservation is a violent yet agreeably goofy throwback to the survival-in-the-woods genre.

Only Yesterday it ain't, and you probably already know whether One Piece Film: Gold will make you ecstatic or not.

Because it's made by people who understand the importance of a clever script and want their audience to have fun, Lazer Team may just prove to be 2016's most entertaining superhero movie.

A fascinating character study.

Where Your Name’s star-crossed protagonists were fully formed characters who held equal weight in the narrative, Fireworks is very much told from the male point of view, and Nazuna seldom rises above “free-spirited object of desire.”

After the Dark is a shaggy dog story but an intriguing and frequently beautiful one.

The soapy material is at odds with the largely distant catastrophe, which often feels too abstract to be a real threat.

Though Pollak's direction in his first narrative feature is solid, The Late Bloomer is mostly an excuse for predictable sex jokes and ample toplessness.

In Stereo is not without its merits, but it doesn't really get going until the last ten minutes, which play like the opening of a movie that would be much more interesting than the one that preceded them.

Frank Gladstone's animated kids' movie The Hero of Color City is a perfectly pleasant pastiche of other movies, the most obvious antecedent being the Toy Story films.

Bad Johnson is probably the most thoughtful movie possible about a penis that takes human form.

It's either much smarter and more profound than it's letting on, or it doesn't add up to anything at all. Or maybe both — it's all relative.

The rom-com elements don't always work, and the conclusion is a bit pat, but Always Woodstock is never less than charming and funny along the way.

Whatever cautionary point I.T. may be trying to make about privacy gets lost in the formulaic ugliness, and not even the constant stream of facepalm moments make it entertaining or watchable.

The final revelation of the big secret that haunts the family -- hinted at throughout the movie -- is more than a little maudlin, and the dedication feels like nothing so much as ass covering. Until then, After is a frequently absorbing miserablist family drama shot in appropriately chilly winter tones.

Rob Hawk's cheap, barely competent action movie Fight Valley is by and for Ultimate Fighting Championship fans, but they deserve better.

The original Brothers Grimm stories were hardly feminist, but The Seventh Dwarf's female characters are deplorably retrograde on both the script and design levels; they have little to do except be rescued, and Snow White is a vain, buxom sexpot whom the dwarfs leer at.

It may be a low bar, but Michael Tiddes's A Haunted House 2 is actually an improvement over its predecessor.

Southern Baptist Sissies might have benefited from some judicious editing.

Tiger & Bunny: The Rising indulges in homosexual stereotypes that would have been regressive in the 1980s, let alone in a spin-off of a 2011 television series, and it's a damn shame.

That the movie maintains some momentum during exposition and what passes for character development is thanks to director Lester.

The whole never becomes greater than the sum of its parts.