At any moment, We the Animals might look and sound gorgeous—yet the film unfolds with a naturalistic pace that plods like a too-lazy summer day. This gorgeous view demands ample, ample patience.

while All About Nina does not add anything new to this genre, writer-director Eva Vives’ film does benefit from the female perspective. It also showcases a fearless performance from Winstead.

On the strength of its authentic storytelling voice and galvanizing lead performance, The Hate U Give delivers a powerful message that all the rallying and rioting and impassioned pleas in the world won’t change anything if they fall upon deaf ears.

Much of the film’s success is due to the work of a better-than-average ensemble.

The approach, while admittedly daring, leaves the game viewer, although certainly dazzled by much of the footage, rather wanting more than Bartsch verbalizing the arc of her life and ambitions, yes, but in a distorted layered and overlapping soundtrack that, intentionally, is not always decipherable.

Ostensibly a drama filmed with European realism, What Will People Say has the air and the unsettling effect of a horror film.

The biggest flaw in Mackenzie’s film is that it is so focused on plot and action, there is all too little emotion, save that surge of rage for (or in) battle.

It’s a raunchy, rollicking story of movie legends off the set and between the sheets.

Sharply argued, indignantly one-sided and stylistically monotonous The Bleeding Edge sometimes seems closer to angry PSA than documentary. But that may not be a distinction that matters.

In the end, perhaps, von Trotta’s search for Bergman never quite finds him. But did he ever quite find himself? All he knew was that he was an artist.

The film isn’t a genre changer, but it’s elegant and admirably remorseless—and when it breaks bad, it breaks very bad indeed.

although it’s far too fannish—this is not a movie that wants to dig deep into anything uncomfortable—it does give the rocker her props, while reminding fans of some modern rock history.

The stories are all heartfelt. Epstein wants Weed the People to provide folks with hope. It may jerk tears when one subject encounters a setback, or another patient loses their battle with cancer, but there will also be tears of joy with the film’s multiple success stories.

Director-producers Quinn Costello, Chris Metzler and Jeff Springer, along with narrator Wendell Pierce (of TV’s “Treme”) keep the tone light, but the underlying message is both timely and worth remembering: You can mess with Mother Nature, but she will mess back.

There’s a “Let it be” sense to McAlpine’s soft exhortations, which struck me as a little ironic, since her Cielo might have garnered more of the appreciation it deserves if she herself had quieted and simply let it, the sky, be, in all the reverent glory she with the silent poetry of her camera was already showing us.

Credit director Jean-Stéphane Sauvaire and Cole for an impressive achievement that takes viewers on an intense journey.

It’s clearly meant to be a light romp –a party movie to be enjoyed in group settings—and it is.

The Kindergarten Teacher is a flawed movie, but it presents an onscreen character original enough to be worth knowing.

Kendrick’s interplay with Lively’s big, alluringly langurous temptress is deliciously diverting, but the script could have used some judicious editing; a surfeit of credibility-straining, overly antic plot developments crowd the last third of the film, which until then had an intriguingly languid pace.

A Whale of a Tale only skims the surface of the many matters it raises, be it cultural imperialism, tradition, animal rights and socioeconomic necessities. Still, its objective approach, and subtle plea for middle-ground compromise, makes it a worthwhile addendum to Psihoyos’ celebrated predecessor.

Is it a particularly great movie? No. Does it have some pretty major structural problems? Yes. Does Jason Statham fight a giant, prehistoric shark in it? Yes. Verdict: See The Meg. The Meg will cleanse your soul.

It's the camerawork by director of photography Brett Lowell and cinematographer Corey Rich (along with many other contributors) that impresses the most here. Close-ups show just how precise and physically challenging the climbers' moves are.

With its star-studded cast of experts, from Ray Kurzweil and Elon Musk to automated warfare experts like Peter Singer, and a brief that is nothing short of the survival of humanity, Do You Trust This Computer? is a more sprawling and diffuse piece of work. It has a larger frame of reference than Paine’s battery-car docs but never hammers it into shape.

The movie...is a visual feast, one of the rare 3D films which was clearly designed with that extra dimension in mind.

First-time feature director Eytan Rockaway (also producer and co-author, with screenwriter Ido Funk, of the film's story) does a commendable job of ratcheting up the scary atmosphere and images.

Larger Than Life presents a vividly comprehensive picture of Aucoin’s work...and the intoxicating era in which he thrived, when models were gorgeous and sensual women. But Bartok leaves out certain key incidents that would have lent greater depth and interest.

Don’t Go is sufficiently subtle that some viewers will find it dull and lacking in traditionally “scary” moments. But others will appreciate the care with which it walks the line between supernatural and psychological horror.

Bayona fights against the script’s weaknesses to craft a movie that, against all odds, feels fresh, fun and even a bit vital. A lot of it’s dumb, and the human characters haven’t gotten any more compelling than they were in Jurassic World, but dammit, everything involving dinosaurs is top-notch.