It feels like a filmmaker’s exercise rather than an involving motion picture. Although you may never be bored with All Is Lost, you are rarely fully engaged.

It's visually stunning, well written and the acting is top-notch. But without context, the plot falls flat, leaving behind an unsettling and bizarre film.

The themes in One Fine Morning are familiar: love, loss, loneliness. Hansen-Løve treats them with dignity, allowing the audience to experience Sandra’s emotions fully. Even so, the film as a whole doesn’t pack the punch it could have.

Moviegoers who are familiar with the source material for The Green Knight might find it a thought-provoking, updated take on the ancient poem. The film does offer interesting ideas on masculinity and honor. Just don't go into it expecting action or thrills along the way.

The ways in which Love After Love is successful at portraying the grief process is also what makes it at times wildly unpleasant to watch.

Ultimately, the movie is really boring. Any charm or spark it might have had is quashed by a lack of strong direction and writing.

The camerawork makes Mond's film lovely to look at. But whether you want to spend time with James White depends on your tolerance for yet another film about how hard it is for guys who just feel too much.

The story, meanwhile, strains to be a masterpiece. And the strain shows.

The club scenes, initially exciting, are ultimately wearying, and the movie meanders about much of the time.

One is left wanting to know more about Mr. Rogers, but the film reduces him to little more than a kind of superhero family therapist.

Come see Wildlife for Jake Gyllenhaal and Carey Mulligan, but stay for the young actor who plays their 14-year-old son.

The Innocents, writer and director Eskil Vogt’s horror film about children with supernatural powers, is definitely difficult to watch, a brutal bit of business. But the thrills aren’t cheap — they’re hard earned, if you can call them thrills at all.

The Dark Divide will win over nature lovers with stunning visuals and an overarching message about the importance of conserving our unpredictable planet and relishing the beauty of exploring it.

For fans, counting up how many superheroes can emerge from the clown car of one three-hour movie is half the fun. For casual moviegoers — say, those who might skip minor installments such as “Ant-Man and the Wasp” — it accounts for half the exhaustion, a bit of world-building fatigue to go along with the sensory overload of a fantasy realm that seems stuck in perpetual apocalypse.

[Denis] definitely never holds back from shocking the audience with multiple sudden deaths, haunting rape scenes and various graphic moments. But with such little character development, why invest in these stories?

It’s an assured debut from a rising star that nails tone and pace. It would be a solid summer thriller were it not grossly undermined by its astonishingly regressive treatment of its leading lady.

It's sometimes compelling, sometimes frustrating, and usually chaotic.

Ornamented heavily with creative visual pleasures, the film is bogged down, not just by weighty thematic issues — death, divorce, bullying, unfairness — but by professions of its own grandeur.

Trachtenberg is patient building this world, and the actors do a good job inhabiting it. Winstead is a terrific actress, and she makes Michelle's desperation and inventiveness believable. Goodman is never better than when playing a nut, and while we aren't sure if that's what he's doing here, the possibility makes for an intriguing portrayal.

There is so much to enjoy about Encanto — the songs, the gorgeous animation, the cultural traditions. All of which make the script’s serious shortcomings all the more surprising and disappointing.

If you can ignore the implausibility -- nay, the opacity -- of the plot, the film is wonderfully cinematic, with great photography, exciting editing, fresh camera angles and some impressive CGI.

There's no question it looks fantastic...As for the story, well, much like the original Frankenstein's monster, it is a haphazard assemblage of well-aged source materials jolted back to life with new technology, but it isn't quite as sophisticated as one might hope.

Knoxville and the others go about their messy business with a glee that is impossibly contagious.

East of Wall looks great on paper, but when Beecroft decided to toe the line between fact and fiction, it ended up falling short of either. Neither a true documentary nor a drama, "East of Wall" lacks clear direction and the dialogue reflects that.

Interesting as it is, Narco Cultura aims to tell the story of what’s happened in Juarez and in Mexico (and, by virtue of its immense appetite for drugs, the U.S.). Instead, it feels more like a couple of intriguing chapters.

Spaceship Earth is an interesting look at the origins of one Arizona’s most interesting tourist attractions.

The film soldiers on through a couple of possible endings, and if its real destination is never truly in doubt, Mbatha-Raw makes the trip interesting.

As far as missteps go, Prince Avalanche is at least an interesting one, which is better than Green has done in awhile.