Metz does a really nice job of shooting the final match, of ratcheting up the tension. Then again, the five-set marathon does a nice job of that all by itself. Gudnason is good as Borg, but mostly he’s a portrait of tightly coiled silence, occasionally lashing out. LaBeouf is the best thing about the movie.

Instead, the story is largely told from Dahmer’s perspective, and we know too much about where he ends up to feel anything like sympathy for him. It’s still a morbidly fascinating peek behind the blood-stained curtains.

The Angry Black Girl and Her Monster is a horror movie, no doubt. It’s also an intelligent one, with the courage to challenge its audience, to make it see the horrors not just in the monster, but in the societal inequities that ultimately created him. Thankfully, Story isn’t afraid to rework a classic.

It’s an interesting film, no question. But too much of the message gets lost in the medium.

Ortega wants us to see that allure, feel that lust. But to do it, he has to turn fact into fiction.

Tomorrowland may not fully reach the heights for which it strives, but it has a good time trying.

The cast, in particular Macdonald and Everett, rise above. However gritty the film may be, you want the best for these characters.

Plummer’s genuine, heartfelt performance will likely go a long way in humanizing a diagnosis that is often unfairly stigmatized.

It is a smart, well-acted drama, and another chance for Marling to exercise her unique talents, creating intriguing characters on the page and the screen.

You certainly won’t find a lot of films like Sightseers. To call it a dark comedy is to undersell “dark” and oversell “comedy.” A very British affair, it exists to suggest laughter more than induce it.

The film is, like its predecessors, funny. But the joke is starting to wear just a bit thin.

Solid, enjoyable, good, but not great.

Wasikowska is outstanding. She’s got the most-interesting character arc, and she plays Judy at all stages of the story with a genuineness that never wavers, whether it’s as the quiet, put-upon secret weapon of the puppet show or the woman she becomes, which is something far from where she begins.

As a cinematic diatribe set in a stark moral universe, Goldstone comes in loud and clear.

Directors Phil Lord and Chris Miller get nearly everything -- the tone, the self-referential nods to the shoe and the dead-solid-perfect surprises -- just right.

While Drive-Away Dolls is a literal journey, it doesn’t have the sense of reaching its destination in the same way…It’s not a road to nowhere — it’s better than that. But it’s also not the joy ride it could have been.

Asher can move slowly at times, kind of like its main character, but you find yourself rooting for the old guy. You’ll want to stick around to find out if he makes it to the retirement home for hitmen.

It’s not that this slight, good-natured comedy is going to set the world on fire. But the movie boasts an understated sweetness, largely fueled by Camil’s movie-star charms.

The no-holds-barred comedy generally works, largely thanks to a game cast that plunges into the raunchy material with gleeful abandon.

Though it's a long ride, the movie is sure to please a patient audience with fans of political and historical dramas.

If you're looking for a fun movie to start the spooky season, this is the perfect film for you.

Pfeiffer may be stripped of her luminosity, but she is vivid onscreen.

The whole range of human emotion — love, lust, anger, jealousy, despair, grief — is felt through Plympton's animation. It's just a shame that his boundless creativity doesn't extend to the narrative.

It’s when Soderbergh tries to say too much that he loses the thread a bit. That’s a shame, because he and the cast are so good at saying a lot with a little.

The story is gripping, compelling. One wonders what De Niro might have done with such a role 30, 35 years ago. De Niro -- whatever happened to him?

The film is not a classic of the genre, but it definitely falls into the upper echelon of the “worthy entry” category, and Steinfeld and Harrelson worthier still.

It’s ridiculous, far-fetched — absurdist, even. Some, or even a lot, of the jokes are stupid. But thanks in part to a terrific cast, expert timing and an all-in aesthetic, it's really funny.

It's adorable. It's also very thin. There's a disconcerting literalism to the songs' dramatic representation that chokes the drama.