Arlo & Julie is a comedy, a mystery and a romance rolled together, yet it barely adds up to one movie.

Everything feels pat and oversimplified, with no gray areas. That's not uncommon in films of this nature, but Christensen is unable to make the movie feel like anything more than propaganda.

On the plus side, Jones is a really good makeup artist, and he is adept at creating gross-out dead people and wounds, and violent acts intense enough that they make you want to look away. On the minus side, the acting and story are so bad you want to look away anyway. Follow that instinct.

If you’re a major fan of the "Love Live!" world, this is possibly enjoyable. If you’re not, it is shrill, garish, confusing and badly paced, with cheap-looking animation and characters that resemble Walter Keane’s big-eyed waifs.

Like all faith-based films, it’s preaching to the choir. But as cinematic sins go, Hollywood regularly commits worse.

The cast is excellent, anchored by the one-two punch of Colunga and Yañez.

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.

Sizemore seems to be operating in his own dimension outside the confines of the film and script, just doing whatever he wants. That's not a compliment. Mills' direction is the movie's high point. It's assured, and he stages scenes with skill.

The characters are fully rounded, and you wind up emotionally invested in them.

Somewhere, deep inside Justice Served, there is the kernel of an interesting idea. But you've got to look hard, because the finished product is pretty dire stuff.

It is high-spirited, buoyant and full of laughs.

It’s a genial, pleasant farce that grows more enjoyable once it calms down and stops being so frantic.

If it balanced out the wild drinking, dancing and sexual scenes with moments that dug under the characters' surface, it could've been a more solid film.

¡He Matado a Mi Marido! seems to be inspired by the kind of bold comedies that Pedro Almodóvar specializes in, with divas at center stage and madcap situations. But writer-director Francisco Lupini-Basagoiti is no Almodóvar, mistaking stupidity for zaniness.

The screwball plot is woefully thin and predictable, with inane situations and characters who barely act human.

The handling of the faith aspect is actually one of the stronger parts of the film. Some movies like this lay it on thick, basically existing as a religious recruitment video. Here, and here alone, Ellis lays off and lets the audience think things through. The message is more effective this way.

While not everything works in Todos Caen — "Everybody Falls" in English — the film is breezy and engaging, with sharp and snappy dialogue. Most importantly, you want to see the two main characters wind up together.

Maybe there’s a place in the film world for El Coyote as a cult artifact, something that years from now enthusiasts will defend as a kind of dada experiment. In the moment, though, as you suffer through it, it’s just an ill-conceived mess.

Make no mistake, “Hold On” proves De Ette a talented singer, one destined for success. We didn’t need a movie to see that. A music video would have sufficed.

Too often the jokes don’t land. Neither does the physical comedy. The story doesn’t really hold. It’s clear that Schneider and his daughter love each other, and this film is a way to express that. But it’s a lot to ask of the rest of us to watch it.

It’s not like the first film was some sort of idiot-comedy version of “Citizen Kane” or something. But that film played like a good buzz. The Binge 2: It’s a Wonderful Binge plays more like the hangover that comes after.

Using the horror genre to tell a faith-based story is an interesting idea, even if it doesn’t really work in the end. And then Beck shows up, and that’s the scariest thing of all.