Tricia Olszewski

A thriller without thrills is merely a drama, and The Wedding Guest is a dull drama at that.

The couple’s talk about dreams deferred is too knee-jerk to warrant sympathy. And though a lot of quiet in between their squabbling is sometimes a relief, it ultimately points to an underdeveloped script that suggests it’s more profound than it is. These two are a little too comfortable with silences.

Generation Wealth is ultimately a string of subjects in search of a binder. And the director’s interests don’t count.

The finale, though a bit cheesy and decidedly telegraphed, is sweet and a welcome antidote to all the bare-skinned romping.

Although the filmmakers return to outsize wackiness too frequently, the film mercifully isn’t one chaotic gag after another.

Noxon, a TV veteran making her directorial debut here, had suffered from an eating disorder herself, as did the film’s star, Lily Collins. It’s surprising, then, that the script offers only generalities instead of any real insight.

The Bad Batch feels less like a coherent film and more like a pastiche.

Shawkat breaks out subtleties that she’s never been able to show off in other roles.

The most impressive aspect of James Franco’s In Dubious Battle is, by far, its cast.

If you can block out that verbal frenzy, though, the last chapters of Antarctica: Ice & Sky are, finally, a compelling narrative (who wouldn’t be interested in the idea of “fossil air?”) and yet another scientific explanation of global warming.

Ultimately, though, All We Had is exactly the kind of movie of which people say, “Oh well, its heart is in the right place.” A clichéd comment on a clichéd film: what could be more apt?

The film’s two-plus-hour running time is a patience-tester.

It’s inarguable that some fans, somewhere, will relish every detail.

The bulk of these stories just aren’t very engaging — or even good.

Hiddleston, who does his own singing, doesn’t get to show off his chops very often. But when he does, the film comes alive, particularly when Williams finally makes it to the Opry.

The film offers one or two surprises. And when its humor lands, Rauch ensures that it sticks.