Where "Finding Nemo" capitalized on the awesome splendor and danger of the ocean, this follow-up shifts much of its action to an aquatic park and becomes broader and sillier, or at least reality-busting, for it.

Wonderful performances steal the show in this film based on the real life of Karen Silkwood, a worker in a plutonium factory in Oklahoma, whose health and safety concerns prompt her public exposure of the company's practices which, in turn, lead to dire personal consequences.

There’s a degree of mythologization at work here, an attempt to frame the birth of the Texas oil industry as this great drinking game between old money and new money. What it lacks is a distinct perspective; for all its period details and solid acting, the underlying message about this time in Texas oil history – that it was right, that it was wrong, that it was necessary – is lacking. This makes The Iron Orchard a film that is both worse and better than it could have been.

The highlight of this satirical remake of ABC's mid-Seventies buddy-cop anomaly is named, unsurprisingly, Will Ferrell.

The cult of Iris caught like grassfire, and the film catches this nonagenarian nonpareil, ever in her defining owl glasses and heavy jewelry, at peak heat.

Summer was made for this kind of film, and Predators is almost exactly what you need to fix this otherwise busted summer cinema season.

As obvious as they get, and it wears its message on its bloodied jersey.

Ultimately, and as is to be expected, In Our Day is not revelatory or revolutionary. It’s a film about being comfortable from a filmmaker who is comfortable with who he is.

With 7 Chinese Brothers, Austin-based filmmaker Bob Byington has made his most accessible film yet. The humor is less arch than in his previous comedies (among them Somebody up There Likes Me, Harmony and Me, and RSO [Registered Sex Offender]), and it’s plentiful and less diffuse than in his earlier works.

The film begins to get a bit lost as the story develops and pushes toward a wobbly climax and conclusion. And what to make of that sled, which is the first bit of knowledge Jonas receives. Rosebud, anyone?

Courtroom dramas can be tricky, tetchy things, but director Jackson, working from a script by David Hare (The Hours) keeps the suspense and moral indignation peaking high throughout Denial’s slightly overlong running time.

10 Cloverfield Lane is a cinematic puzzle box that rewards your patience with three standout performances; a memorable, nerve-jangling score by composer Bear McCreary; and an escalating sense of disorienting confusion.

Not content to whisper its truths; it would rather flaunt its valuable lessons and its good intentions, proudly boasting its sentiments like a (rainbow-striped) badge of honor.

What A Walk in the Woods doesn’t have, however, is plot, character development, narrative conflict, and resolution – in other words, a destination.

Cinematographer Jean-Marie Dreujou has shot the ridiculously photogenic grasslands in truly spectacular IMAX 3-D, and rarely have I seen it done better.

The film also inspires, if unconsciously, the viewer to rethink what exactly constitutes art.

Rustin is filled with powerful performances and compelling speechifying, but it never quite manages to balance the onscreen potential of both man and mission.

To the delight of its young audience, juvenile humor abounds in Captain Underpants, but the movie is smart about the way it contextualizes this lowbrow comedy.

It's not the greatest movie about baseball ever made (and I'll keep my mouth shut on that one if I know what's good for me), but it's not the worst, either. Like the game itself, it's pretty darn fun.

The Alpinist works as a moving testament to Leclerc’s incredible life and the art of alpinism itself, while even finding time to tactfully wrestle with the difficult reconciliation of the reckless danger versus the peerless beauty of such an undertaking.

Even with all the conflations and simplifications, and a middle act that verges on an extended montage of guerrilla warfare and undercover intrigue, A Call to Spy is undeniably a heartfelt take on a fascinating and heartbreaking true tale of heroism.

Can faith and evidence coexist? That's an age-old question, and one that The Apparition, the latest from French director Giannoli, broaches without ever truly resolving.

This is an unpleasant film, but Argento, whose bloodline positively seethes with unpleasantness, is, in her own right, a master cinematic stylist of the first order.

That may be Beautiful Boy's biggest problem: That it's too emotional.

It all boils down to trying too hard, when everybody knows a good grift is one that appears effortless.

Isn't going to make anyone's head explode with joy, but it is sweet and sporadically funny in its own loopy way.

Aside from Segel’s grounding performance, the pleasures of Our Friend lie in some of its observational specifics about human behavior.

Detailed but, ultimately, one-sided.