Tricia Olszewski

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

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.

Though it’s fun to watch Pullman and Huston sparring, it’s nearly as pleasant to watch their characters make up.

[A] charming romantic comedy.

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

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

In the end, human decency and resilience are this narrative’s common threads. And you needn’t have lost a loved one to recognize it.

Franco’s fantastic here. He gives a fieriness to Michael as a gay advocate, then seamlessly slides into borderline madness as he starts accepting that the “voice” he hears is God’s. Michael’s confusion is palpable and intense.

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

Little Boxes has good intentions if not the subtlest delivery.

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?

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.

You’ll be surprised to discover that it’s actually smartly written and expertly pulled off.

Even women will lose their man cards if they buy a ticket to Year by the Sea, a figurative and nearly retch-inducing celebration of the ovary based on a best-selling memoir by Joan Anderson.

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

Cummings may have taken the easy way out here and there, but she largely delivers a film that kinda sorta makes you think, which isn’t a characteristic the genre is known for. Throughout, your feel-good chemicals will be flowing.

To be fair, the unraveling of “Careful” is not the fault of the stars.

Homelessness among military veterans is a noble subject for a filmmaker to take on. So it deserves a better vehicle than Sgt. Will Gardner, writer-director Max Martini’s clumsy and sometimes downright laughable portrayal of an injured Iraq war vet.

With zero romance and nonsensical thrills, the only legitimate theft here is of the viewer’s time.