It's a weird movie. In a good way.

Director Enrique Begné, who helmed this year's winsome "Busco Novio Para mi Mujer," directs with an emphasis on action over comedy. Sometimes that feels misplaced; the stretches without laughs grow increasingly longer as the plot moves forward. But he keeps things enjoyably fast-paced, so it's hard to complain too much.

April and the Extraordinary World is a visual delight, an animated French steampunk adventure that is smart, exciting and wonderfully weird.

Cliff Curtis is staggeringly good as Gen.

Unfortunately, what the filmmaker has wound up with is something that feels like it should be playing at the bottom end of a triple bill at a drive-in.

The easiest way to describe My Golden Days is as a coming-of-age romance, but Arnaud Desplechin’s film, with its memories and carefully nursed grudges and moments of heartbreak and betrayal, feels weightier than that.

[Costner's] utter conviction to such a daffy project is strangely endearing. You may never believe one minute of Criminal, but Costner sure does.

Thanks to the nicely layered characters and a near-perfect mix of action and merriment, the movie feels wonderfully vivid and alive.

Barbershop: The Next Cut embraces the societal changes and rifts of the past decade, from Chicago’s increased violence and the Black Lives Matter movement to Barack Obama’s historic presidency, making the film an even more heartfelt love letter to Chicago.

Miles Ahead is by no means a perfect film, but it is an interesting one. In this case, driven by Cheadle’s performance, that’s more than enough.

While its audacity is laudable, the film ultimately has all the thrill of watching someone else play a first-person-shooter video game.

Unfortunately Jean-Marc Vallée’s film doesn’t measure up to Gyllenhaal’s performance.

Everybody Wants Some!! is a terrifically entertaining movie that proves Linklater once again a master of perfectly capturing moments in time without judgment or apology.

There are brief bursts of hilarity, and they are all, without exception, owed to McCarthy’s innate charisma and comedic timing.

Krisha is a unique film, honest and searing.

I appreciated the effort Delpy, directing her sixth feature, puts forth in trying to spice up the genre. But that doesn’t mean I enjoyed it.

The problem is the movie itself – the script, the editing, the construction, all of which combine to make the whole thing feel flat, lifeless and confusing.

This is a really good movie made by a terrific talent, stunningly shot and confidently directed.

Despite all of the unlikely scenarios and dubious plot developments, Plummer shines. There are moments here when we understand why he took the role, and many more when we are glad he did. But not enough to make Remember a better movie all the way around.

Ultimately, the film is never boring, but it's never involving, either. At the end, what you're left with is a modestly entertaining film that doesn't seem to have an original thought in its head. In that way, it's a lot like the characters it spotlights.

As a documentary about Jonathan Gold, the Pulitzer Prize-winning food critic, City of Gold is more or less an entertaining valentine to an interesting guy. As cultural archaeology, unearthing the relationship between food and a city, food and a critic, a city and a critic and a swirling stew of all the above, it's fantastic.

Frot's performance is so towering, so convincing, that it smooths out all the film's rough edges. It's a triumph.

The script, written by the actress, is downright wretched at times.

Yes, questions regarding violence and mayhem are drowned out by violence and mayhem. Such is the superhero life as directed by Zack Snyder. There is no problem that can't be solved with a cranium-rattling explosion or two.

Maybe the real message here is that Brooklyn hipsters are absurdly annoying, whether it's past, present or near future. On that front, Creative Control succeeds. As a compelling film about the alienating effects of technology, not so much.

The film feels overlong and a bit repetitious, but it’s obviously a complex subject that deserves a thought-out treatment.

Subtle it's not, but the film is effective both as a thriller and as a war film with something to say.

Hello, My Name Is Doris is at times self-consciously quirky and precious and implausible — and Sally Field is so good in it that those complaints seem pointless.