A sublime meditation on solitude.

There’s simply too much going on here — too many subplots, too many symbols, too many expendable characters — and certain interesting threads aren’t able to develop fully.

I’m So Excited! is random, episodic and essentially meaningless, but it’s also a hoot. And if that’s all you’re looking for, you might as well get it from the master.

Co-writers/directors Faxon and Rast have created a little gem of a film. Without question, The Way Way Back is the best coming-of-age movie of the summer and should be seen by audiences of all ages.

[A] remarkably tepid sequel to the surprise 2010 hit.

This is slick trash. A bloated, unfunny, sometimes downright bizarre train wreck featuring some of the loudest, longest and least entertaining actual train wrecks in recent memory.

Kleine could have used Gregory’s lifelong trajectory to tell a larger story of the international avant-garde theater scene. Instead there is overmuch fuss about his coterie of dear companions.

There’s not too much sentiment, but not too little, either. Just enough to make you feel misty-eyed in a way that doesn’t necessarily indicate incipient glaucoma.

It takes a while, but the old-fashioned pleasure of watching a well-told story unfold eventually becomes the chief satisfaction in Byzantium, though there are other things to enjoy as well.

This is one of the most entertaining movies of the year.

[A] cartoonish, offensive, overblown, clanging, steaming piece of ... cinema.

An obliquely clinical love story.

Perhaps the whole business is too cerebral and circumspect to stir up emotional involvement, or perhaps there’s a tinge of wine snobbery that has a slightly distancing effect. Then again, maybe it’s wrong to expect much in the way of excitement from a quiet art best suited to the sedate setting of a fine restaurant.

[This] timely documentary is less persuasive about translating logic into political and economic reality.

A sympathetic, lay­­ered portrayal, rich with detail, that earns its more complex and resonant conclusion.

This is not an in-your-face thriller but rather a measured film ripe with suspense that never lets up.

Anyone interested in the appeal of cults and the psychological lure of a charismatic leader will appreciate The Source Family.

It is a story worth telling. But Bernstein cannot bring himself to apply the same brutal honesty to his subject as Ungerer does to his.

Joss Whedon’s take on Shakespeare’s classic tale is swanky, sexy and sophisticated, as bracing as a dry martini poured from a silver shaker on a summer night.

The Bling Ring is a sly, often hilarious and at times sobering look at the 21st century fascination with celebrities.

Though colorful and sweet-natured and occasionally capable of producing the mild chuckle, this is a safe, predictable, edge-free, nearly bland effort from a studio that rarely hedges its bets.

It’s entertaining as hell.

A mostly underwhelming film, with underdeveloped characters and supercharged fight scenes that drag on forever and offer nothing new in the way of special-effects creativity.

In its own sloppy, raunchy, sophomoric, occasionally self-pleased and consistently energetic way, This Is the End is just about perfect at executing its mission, which is to poke fun at its stars, exhaust every R-rated possibility to get a laugh, and even sneak in a few insights into Hollywood, the celebrity culture and the nature of faith.

Violet & Daisy won’t be everyone’s cup of tea... But view this as a modern comic book/fairy tale, and it’s easier to accept this saga of girls with guns and the life lessons they eventually confront.

Marling has crafted a nicely taut, suspenseful cinematic journey into the world of corporate espionage.

Wise, touching, and often wildly funny,

The Internship is the movie version of a goofy dog that knows only a few tricks but keeps on looking at you and wagging his tail, daring you not to like him. Down, boy. You win.