Stephanie Merry

Nerve is exciting, topical and potentially prescient, but it scores no points for character development, and the plot holes are so big that you could, well, drive a speeding motorcycle through them.

In the end, the plot is the least interesting part of the movie. One-upmanship gets old fast, but evolved, of-the-moment comedy helps make a stale story fresh.

Danny Collins, like its central character, has a good heart, and sometimes that’s enough.

The lead actresses, like the story, work in subtle ways. There’s plenty of potency in small gestures, anecdotes and shared glances.

Dean has its moments. The cast is solid, and the story moves along smoothly. Slight though it may be, it’s a sweet enough tale, while it lasts.

The Night Before is hardly a Christmas miracle, but it’s good for a laugh or two. And that’s not a bad way to get into the holiday spirit.

The movie winks and nudges its way through a lighter, modernized variation of the classic, proud of its own cleverness every time Gemma’s life mirrors Madame B’s. But imitation for the sake of itself isn’t brilliant, especially when the elements most worthy of copying — Flaubert’s precise narration and telling details — don’t make the cut.

It’s appropriately melancholy, and yet there’s a sense that the movie only scratches the surface.

The script, written by Trevor De Silva and Kevin Hood, falters when farce gives way to melodrama, but the movie regains momentum with a climax in a ballroom.

The story starts to feel crowded, especially when each character seems instantaneously at odds with another. One set of opposing forces would probably suffice.

It’s a story that promises major suspense, which only materializes occasionally.

Although his character might be a one-trick pony, Bateman’s directing proves he’s got skills to spare.

The First Monday in May isn’t a deep examination of its subjects, but at least it’s breathtaking to look at.

In the Name of My Daughter has good intentions of taking a sensationalistic riddle and turning it into a human story. But the pendulum ultimately swings too far, leaving an explosive tale behind in favor of one that fizzles out.

It’s diverting to watch and has moments of brilliance, but even with all its refreshing female characters, May in the Summer doesn’t leave a lasting impression.

The documentary’s greatest strength is its ability to humanize Paulson.

The movie often undercuts itself by spelling things out rather than hinting at them, belaboring emotions and ideas to ensure that the audience understands what the characters are feeling and thinking.

“Fate” gives fans of the franchise exactly what they want, provided they can ditch logic as easily as the movie does.

The acting across the board is top-notch, especially by Banks, who is probably best known for her comedic roles. She doesn’t get to flex any of those muscles here; Little Accidents is a serious movie, but, to its credit, it’s never entirely bleak.

As Omalu, Smith gives an emotional performance, bolstered by capable supporting players. Albert Brooks is especially good as Omalu’s wry boss and chief advocate, Cyril Wecht, lightening the film’s otherwise gloomy mood.

Walking the Camino: Six Ways to Santiago may not be entirely brilliant, but it’s at the very least inspiring.

When it comes to writing the poetry that Kalindra recites, Murray knows how to do more with less; he needs to apply that lesson to his filmmaking, too.

The film serves an effective marketing tool after all, with some lively footage and funny interviews. It’s just too bad viewers can’t see the actual play.

It’s John Goodman who steals every scene. As a scary loan shark who might cough up cash to get Jim out of his pickle, Goodman elevates the material, showcasing the dark humor that Wyatt was clearly going for. But, overall, that comedy just doesn’t land.

The Duelist will leave viewers scratching their heads over any number of questions, but the most gnawing one might be: Why did everyone get so dressed up for a bloodbath?

It may not be wholly original or without its flaws, but Magic in the Moonlight offers a pleasant vacation from reality, and what more could you want from a summer movie?

Fans of the play will be pleased. And for those that love the Four Seasons’ music but haven’t made it to the play, you can put your fear of missing out to rest. This is a much more affordable way to very nearly re-create the experience.

Laxton knows how to get the audience down but hasn’t quite mastered the art of lifting them back up.