Cute and toothless as a kitten, Seamstress doesn't inspire the same kind of fervent devotion its principals feel when confronted with art, but it does make a pleasant enough diversion.

Jiang Ziya is a big story, an incredibly complex mythos not unlike Hercules, and unfortunately it never finds its beat. Like many films in the Marvel Cinematic Universe, the story of Jiang Ziya is far more concerned with big epic punches rather than complex character weaving, and earned pathos.

In its use of texture and its recreation of beloved pop culture items, Power’s film is a fascinating slice of Nineties nostalgia viewed through a cardboard lens. But when the bodies hit the floor, you will wish for a little three-dimensional storytelling in this two-dimensional world.

It's all a little too polished, a little too smug to be ranked up there as one of the great journalism films.

As a heartfelt feel-good story about industrial espionage and how to win the right way, Hero Mode is charming if undemanding, and feels at least a little authentic to its milieu.

As YA adaptations go, this isn’t quite "The Notebook," but its core demographic of teen girls will likely be more than satisfied.

Ultimately, however, The Way Back fails to connect on the all-important visceral, emotional level.

The movie is kind of a mess – all over the place tonally, hastily paced, and overly reliant on the ostensible truisms of romantic comedy.

This remake of the 1972 Peckinpah gem lacks the Ali McGraw/Steve McQueen heart and soul of the original, opting instead for the vacuous and thoroughly forgettable anti-chemistry of Baldwin and Basinger.

To sum it up, there is little that is unexpected in The Hobbit: An Unexpected Journey. Rather than an epic continuation of Jackson's Middle-earth obsession, the film seems more like the work of a man driving around a multilevel parking garage without being able to find the exit.

For a time, The Predator offers some popcorn thrills, grisly deaths, and funny one-liners. But the film tries entirely too hard to capture the magic of those Eighties action/comedy films that Black cut his teeth on that anything resembling a cohesive plot gets set aside for another endless round of bad jokes and running gags, which I’m quite sure is by design.

There are great scenes (many) and terrific performances, especially Glover and Woodard.

The moral dilemma at the crux of the story is what makes it interesting, and good choices were made in the casting of Fassbender and Vikander, he so deft at playing men suffering silently from inner turmoil and she so emotively open-faced.

Writer-director Duncan Tucker does little to develop his narrative setup beyond the basic and obvious, and his film begins to feel more like an exercise than a fully realized story.

The film is a pleasant surprise.

The film tries so very hard to be The Movie of Summer '93 that it almost makes you sick for what could have been, what should have been, and, in the end, what it is: soulless sound and fury -- action in a vacuum.

Luhrmann wants it all – comedy and tragedy, bombast and wet-eyed sentimentality. When it works, his kid-in-a-candy-store giddiness is infectious. When it doesn't – when he goes from silly to turgid in 60 seconds flat – he punctures Australia's proportions down from epic to simply overwrought.

The animated feature directorial debut of both Kim Burdon and Robert Chandler (writer/producer of The Amazing Maurice) is a light jaunt that's mostly delivered in mid-tier CG and mildly overblown celebrity voice-acting. However, there are still some delightful flourishes, like opening credits that evoke the distinctive vintage British Rail tourism posters, and a flashback involving articulated paper puppets.

The most expensive South Korean film ever made is also one of the most realistic (read: gory) depictions of the horrors of war, specifically World War II, global cinema has ever produced.

What it does have in its favor are two sit-up-and-clap supporting turns from Skarsgård, all barking bear in tacky gold chains, and Lewis, who wears the sour mouth of someone who just underwent a prostate exam. Collectively, they’re the film’s fail-safe: Whenever Our Kind of Traitor threatens to go completely inert, they show up and give it a good goosing.

Taken on its own fluff piece terms, Piece by Piece is an interesting sprint through three decades of cultural relevance and relatively scandal-free living. If Pharrell’s happy, then it seems we have to be too.

Despite a title that makes this movie sound as though it might be the latest madcap offering from Pedro Almodóvar, In the Land of Women is a much more conventional affair – a tame yet appealing melodrama about finding one's self that is alternately formulaic and unique.

It's an obvious effort through and through, but that doesn't seem to dampen its ridiculous charm one bit.

A certain inevitability hangs over The Mother – as if any of this could end well – but if Kureishi's framework is perhaps predictable, his knotty, complex characters are not.

In the end, the film doesn't add up to much of anything, but its individual parts are sometimes greater than its whole.

An unusually fun and funny film.

The problem with this American indie filmed in Korea is that, despite the captivating faces and sad predicament of these little girls, nothing much happens.

For all its Del Toro touches (Goodwin as a young autistic boy kidnapped by the bugs), Mimic is a surprisingly hollow thriller.