Roth's tale is fairly twisty, as the behavior of the women grows increasingly violent and more outrageous. The two are not simply nut jobs; Roth presents them as a form of avenging angels who target philandering husbands. That's an interesting premise, but the movie lacks the depth or layers to make that truly compelling.

It's an engaging, accessible documentary that explores the (truly) eternal questions, "Does hell exist? If so, who ends up there, and why?"

The actors are having fun here and, for a while, so will the audience. But the payoff just isn’t there. It’s not-a-stake-through-the-heart disappointment, but the only eternal life Renfield will enjoy is in late-night channel surfing.

Free State of Jones is a well-intentioned slog through a potentially fascinating bit of Civil War history, brought to life only by Matthew McConaughey’s performance, and then only occasionally.

Director Mark Waters manages to wring some charm out of the film, and out of Carrey.

If the cast wasn’t so talented and so committed to doing some heavy lifting, Finding Your Feet would be a gigantic misstep.

The voices are outstanding; the story demands British accents, and with such people as Caine and Smith providing them, so much the better.

It’s too bad The Conjuring: The Devil Made Me Do It isn’t a vampire story, because the filmmakers are bleeding this franchise dry.

It's not a top-shelf Apatow production, and by the end, it's obvious Wanderlust was a lot more fun to make than it is to watch.

The beauty of Kurt Warner’s story is that it’s so unlikely it’s nearly impervious to clichés. The strength of American Underdog, Andrew and Jon Erwin’s film about Warner’s life in football and with his wife, Brenda, is that they realize this and let the story speak for itself.

It’s a weird little genre, the sick-teen romance. “Five Feet Apart” winds up as just a pedestrian entry in it, because it tries way too hard on the melodrama front. Being a teenager is difficult enough. Being a sick teenager is presumably that much harder. Being a teenager in “Five Feet Apart” means suffering from something else, in addition: overkill. And that’s deadly.

There’s nothing wrong with a thriller leaving some loose ends. But Deep Water trips over them too often.

The movie relies on the chemistry between Reynolds and Smith plus nostalgia, but it works well. This might be the best video game-based movie yet. So when it comes to tickets, movie-goers gotta catch 'em all.

Its over-the-top violence is cartoonish at times, menacing at others - which is a good thing. And truly, if one must wander a barren, post-apocalyptic landscape with somebody, who better to wander with than Denzel Washington?

One of the things that pushes Jig beyond what it might have been otherwise is that not everything works out as you might have liked.

The found-footage approach loses its shine quickly.

Sam Levinson’s film is meant to be a harsh, unyielding examination of a relationship, and thanks to stunning performances by Zendaya and John David Washington, it sometimes is.

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

There is nothing in the film that will keep you awake at night. Instead, The Awakening works much more subtly, with a profound sense of dread and resignation, a death-obsessed movie given life by Hall's performance.

Writer and director Mark Elijah Rosenberg paces things patiently, which in some cases is a polite way of saying there are boring stretches.

Unfortunately, the plot as a whole is rushed, with character-development shortcuts and one whopping out-of-the-blue development that seems to exist not as a surprise but because the filmmakers had painted themselves into a narrative corner and needed a way out. But there are some scares, and Cooper and especially Guido give authentic-feeling performances — again, with a few shortcuts along the way.

Director Jamie Payne keeps things moving, certainly, and the action is appropriately gruesome. But you can see where a little more time to tell the story would have helped.

Krasinski is likable and Martindale can make the lamest dialogue sound believable. But even they can't make us invest in characters that are nothing more than a collection of stock quirks and tics stuck in wildly contrived situations.

It wants to be oh-so-serious, and it never lets us forget how hard it’s trying.

Comparisons are unfair and inevitable. But even when taken on its own terms, the new Carrie rings hollow, a horror movie that is unsure of itself, with little to offer the uninitiated and less to offer fans of the first film.

The elements are in place for a decent little movie, but Loach overplays everything, offering nothing in the way of surprises. Bobby’s supposed transformation isn’t particularly revelatory, but then, neither is anything else.

Fly Me to the Moon shines when it doesn’t try to just tell a story about the moon landing, but instead examines how those stories get constructed, and why.

Kartheiser brings some zip and smarm to the proceedings as the villain with a million years in his vault, but it's not nearly enough to make In Time worth your time. Or your money.