There is a staginess to the action that creates a certain distance between the film and viewers (an opening sequence almost feels like like you're watching a play). That's another Tarantino-style touch. However, you never feel too disconnected, thanks to the good work from the cast.

Ultimately Fury is a good, conventional war movie that might have become something more.

No blood, no gore, no hacked-off arms and legs, but plenty of creepy set pieces, quick cuts and blasts of music that will have you both squirming in your seat and jumping out of it. Until the bone-headed part kicks in.

An improvement. Not a gigantic leap forward for cinema but, armed with a new director, a new story and the return of a trying-harder Worthington and good ol' Liam Neeson as a put-upon Zeus, a marked upgrade in quality.

The film is often moving, and some of the performances have a depth and naturalness. But it moves at a pace that can be maddeningly slow and is often long-winded, two traits that stop the momentum dead at times.

This is very much a mainstream movie meant to shine a light on the plight of people who were ignored for too long. For that reason alone, it's well worth seeing.

What's exciting about the film is the confidence Hittman brings to it, particularly with her visual choices. The dancing in particular is striking, with surprising cuts and edits. It Felt Like Love isn't a great movie, but it is a promising one, for everyone involved.

The course of the film's story is somewhat predictable and played broadly. But where Volpe's work really shines is when it makes the bigger issue personal.

Intense people behave in intense fashion, and that's that. No guns, no bombs, no noises louder than an argument or a father who likes to drink.

Can we ever get innocence back once it's lost? The ending suggests that we can. But at enormous cost.

You’ve heard this song before and can predict all the emotional high notes before they hit, but sometimes that’s all you need from a summer bop.

The Many Saints of Newark isn’t The Sopranos. But both literally and figuratively, it’s a start.

With Lake Bell and Simon Pegg as the would-be couple involved, the emphasis is squarely on comedy. There’s some romance in there, too, but it’s nicely twisted, just enough to keep things fresh and funny.

A flawed script prevents Welcome to the Rileys from being the effective meditation on grief and healing it wants to be.

How much you enjoy all this will depend on how much you like Glazer. She’s funny, no question, and sometimes intentionally grating. But she also gives off a genuineness. Maybe she is just saying out loud what other people are thinking.

It’s a bit of a letdown, though still entertaining.

While 43 points heavily to the corruption and the lies of the government, the truth about what happened to those students still remains a mystery. Perhaps the true point of the film is to spur discussion and not let the story fade as just another unsolved crime against the poor.

Director Kevin Macdonald offers a suffocating visual feast. Some of the particulars don't add up, so much so that you do notice them even as the action plows forward. But it's still a thrilling ride.

Despite its slow pace at times, the film builds on multiple themes such as flying too close to the sun, self-discovery and a tinge of romance.

Zemeckis is a master of using effects, but his films sometimes don’t live up to them.... The Walk is different. The use of 3D, in particular, is so astonishing it practically wipes your memory of the silliness going on in France as Petit was learning his trade. Once Petit is on the wire, he is free, and the liberation is contagious.

This film has enough stunning special effects and adorable baby animals to keep you entertained for 2½ hours.

Match is no masterpiece, but it is an intriguing and entertaining example of actors lifting the material they're given to greater heights, with Stewart leading the way.

Scotty and the Secret History of Hollywood is a fascinating and undeniably irresistible look into that world. You just feel, despite Bowers' sunny disposition, a little dirty about enjoying it.

Byrne is a delight.

“Brats” is definitely McCarthy’s journey. What saves it are the people he brings along for the ride.

There's no hard-and-fast rule that says you have to like the main character in a movie. It's more a custom, really - a custom that Ben Stiller stretches nearly to the breaking point in Greenberg.

There is nothing erotic about it, nothing sexy, nothing but a brutish satisfying of carnal desires. Without an astounding performance from Michael Fassbender, it would be almost too painful to watch (and at times, too boring). With him, it's not exactly easy.

As mysteries go, writer-director Aaron Katz hasn't really created an effective one. Gemini is entertaining, but Jill isn't much of a detective, and the big puzzle at the center of the film just sort of falls together. You never completely check out of the plot, but don't feel fully invested, either.