Writer/director Damien Lay’s screenplay has some head-scratchers in addition to its flat dialogue, but it’s clear that the airplanes rather than the characters are his real passion. Unfortunately, his film never takes flight.

A flat and tedious action film that elicited the most lethal response possible when I asked my movie date what she thought after the credits rolled: “boring.” Agreed.

The subtitle of Richard Linklater: dream is destiny is drawn from a line of dialogue found in his equally groundbreaking and hypnagogic animated art film "Waking Life," and it serves as a mission statement of sorts for his entire oeuvre and endlessly curious philosophy.

As in Richard Linklater’s lovely "Before Sunrise," the film’s principal pleasure comes from watching two people connect as they get to know each other over the course of several hours.

I could watch Ramírez read the phone book, as the old saw goes. He is one of the most vibrant and charismatic actors working today. He infuses Durán with a charm and a recklessness that is tempered by De Niro’s quiet, understated performance, something he can do in his sleep.

David Hunt’s exhausting film runs over two hours and adheres to a kitchen-sink ethos of sports tropes and spiritual asides.

More methodical than innovative, Don’t Breathe is nevertheless an effective suspenser.

It’s not the unmitigated disaster early reviews suggested. Instead, it is a blandly competent and doggedly uninspired redo of material adapted a half-dozen times already.

Visually inventive and offering up a complex view of family interaction, Kubo and the Two Strings is another feather in the cap for Laika, and a marvel to behold.

Whenever War Dogs plods, close your eyes and count the seconds. Hill’s next deranged little giggle will be along shortly to pick you up.

Equity is a movie about working women that was made by and financed by women, providing a backstory that’s almost as interesting as the movie itself.

Sausage Party glints of greatness, but this is half-cocked comedy at best.

Pete’s Dragon has the power to breathe fire into the most tepid of souls.

Indignation, however, is not really about sex, but rather, the cataclysms that can result from the most banal of choices.

Hell or High Water is a good but not great movie with sensational lead performances that elevate it to enjoyably memorable status.

Brutally frank, and with a biting sense of humor and an earnest love for her husband, Michel, at least for me, becomes the emotional center from which the film radiates.

For the incomparable Streep, it’s yet another performance in high C.

As a document of an extraordinary event, Anthropoid does the disservice of rendering this bit of World War II history dull and colorless. I’m sure there’s a History Channel show that tells the tale better.

The dialogue is enough to make your hair stand on end.

Birbiglia’s acute perspective will pertain to almost any industry in which a few are chosen to advance and the vast majority are left to wonder, “Why not me?”

Horror movies tend to be pretty quick affairs, clocking in at 90 minutes or less, but The Wailing runs over two-and-a-half hours. That's because Na's recipe absolutely requires simmering before it rips your guts out (and everyone else's).

This weighty French/Polish production is chock-full of moral dilemmas borne from its unthinkable scenario. At times, it’s not an easy experience.

There’s no one to root for in this movie, and no one whose prospects we care about. Several plot points lack coherence, and inserted flashbacks add to a sense of the film having been fused into shape in the editing room. It seems that Suicide Squad was done in by its own hand.

Up until now, Roberts and Franco have been second-tier actors in the industry food chain, but their first-rate performances in this better-than-average genre flick exude something called charisma. After this film, the two of them may graduate from watchers to players.

Notably, Phantom Boy treads territory that’s similar to much of Hayao Miyazaki’s work, with a main character seeking the otherworldly in the face of a terrible reality. Missing, though, is the narrative and emotional cohesiveness that would likely have led to Felicioli and Gagnol’s film being a more engaging and memorable work

This current film smartly adds material that keeps it up-to-date with the reality of today’s sophisticated electronic surveillance. The series may become a marker by which we come to gauge the future disappearance of all personal privacy. For the sake of the series’ endurance, I hope so, but for the sake of the rest of us, I hope not.

Come for the sophisticated charm and intoxicating wit suggested by the term “café society.” Stay for the rote charms and recycled bons mots offered up by Woody Allen’s umpteenth movie, a decidedly lesser entry in the director’s vast catalog but, as with all Allen movies, a cut above most everything else that passes for comedy these days.

Jokes about anal sex and cameos by the likes of Martha Stewart and Wanda Sykes help or hinder as the case may be, but know that your level of enjoyment is directly proportional to how many drinks you’ve had. My advice: Make it a double.