The Old Man & the Gun is never less than pleasant, and Redford's fans might even find it resonant. Others may think it's cute but underwhelming, sweet-natured but forgettable. There are worse ways to spend your time.

Night School pushes no buttons nor breaks new boundaries, but it pleases and entertains enough to get a diploma for good effort.

It’s a deliriously silly, often preposterous movie...but director Susanna Fogel keeps things moving too quickly to leave much time for complaints.

While the film’s vision of Nelly Arcan may ultimately remain just slightly out of focus (a notion that’s duly literalized in its final shots), Mylène Mackay’s powerhouse turn seems certain to resonate.

The fun of Uncle Drew is to be had in the energy of its athletic cast, all of whom appear to be having a grand old time playing around.

The performances in Beautiful Boy are superb, and overall this intense father-son drama, helmed by Belgian directorFelix Van Groeningen (The Broken Circle Breakdown), has the ring of authenticity.

Working with Keaton’s own material, Bodganovich is too busy praising the artist to bother saying anything novel about him.

As it is, it’s a bit of a slog. A well-crafted slog. But a slog nonetheless.

The whistleblowers of the NYPD 12 definitely deserve a comprehensive chronicle of their struggle for justice, as their struggle affects so many. Crime + Punishment speaks well on their behalf, but not emphatically enough to close the case.

No spoiler here that all unfolds with twists and complications but lands in a colorful kibble bowl of happy endings. Surprise does lie in the fact that such familiar material can deliver some unexpected pleasures.

What makes it play is Archambault, who gives a strikingly unpleasant performance as Gerald.

It’s a bit self-glorifying, but you can’t deny that Garcia’s story of job-hopping and success won on charm, passion and hard work is compelling.

Although uneven, both its conclusion and its hero make Izzy Gets The F*ck Across Town a journey worth taking.

Technically splendid but emotionally distant, The Third Murder will seem more like a detour than a destination for his fans.

Bo’s secret weapon in The Island is Shu Qi, an effortlessly magnetic star who enlivens even the dullest material. Kept in the background for a lot of the story, she still brings a welcome human touch to a plot that keeps threatening to turn into a lecture.

This doc is far more about being gay than being a gay dancer, with not enough extended performance footage to give you an idea of their real capabilities. This lack also softens the impetus of the movie’s inevitable contest climax, which takes place at the Gay Games in Cleveland, with one of the featured couples winning big.

It cannot, unfortunately, boast a taut pace and narrative to match the mood of unease that fills the air like dust in this depressed desert outpost.

The film’s pleasures are small ones, but they’re perfectly pitched and anyone who’s ever collected anything will empathize with the depth of Alan and Paul’s passion, if not their actions.

Ultimately, Teen Titans Go! To the Movies is fun enough, if unmemorable. If you’re not already invested in the property, you probably won’t find enough in it to make it worth your time.

Cassel, one of France's singular talents, delivers an absorbing performance, committing to his role on both mental and physical levels.

Better than mid90s’ treatment of adults is its evocation of the euphoria that comes from discovering one’s place in the world, and confidence—highlighted by Stevie’s nerve-wracked first sexual experience—as well as the way skating provides a liberating release, and a surrogate family, for these unruly teens.

New paint can't hide the worn-out frame behind Mile 22, a gung-ho workout that pairs Mark Wahlberg and director Peter Berg for the fourth time. Cribbing from themselves as well as tons of other action films, they manage to throw enough firepower on the screen to placate genre fans.

It’s a flashy film, but also rather derivative. In the end, Hot Summer Nights is a study in the power of talented actors to elevate material.

Weightless is a bleak slice-of-life movie that’s tightly focused and stylistically cohesive. The narrative is not without interest and the film’s atmospheric mood is effective. But ultimately its slow pacing (unremittingly so) grows tedious and the ending is a non-ending.

Joel Edgerton produced, directed and adapted the film—much too gingerly and gently to have the powerful impact that it should.

Chu is definitely not an actor’s director, being far more concerned with splashy spectacle than intimate human emotions, and often you can feel scenes go slightly dead, with his performers likely called upon to improv their lines and motivation as best they can.

Dyrholm fully immerses herself in the iconic legend that was Nico, at the same time investing her with so much desperately pulsing life—a true artist portraying another—that it uplifts what could have been a very dreary slog of a movie.

Character development and backstory needed more work and would have added to better, more engaged storytelling.