The landscape is a definitive presence throughout the film, which has almost no music and very little dialogue. The film is short (approximately 80 minutes) and maintains a good sense of dread throughout.

Over-plotty, convoluted, full of unanswered questions and unquestioned assumptions — is a big part of the problem here, but director Neil Burger (“Limitless”) pulls off a neat trick here, in that Divergent is a pretty diverting piece of moviemaking pulled from a not-especially-good story.

Maladies is at least watchable, though just barely.

With Muppets Most Wanted, the vaudevillian pandaemonium is alive and well.

A snoozy-but-diverting, lightly constipated B-movie.

Nymphomaniac Vol. 1 is the worst thing Lars Von Trier has ever associated himself with.

The winks and nods to fans are deliciously satisfying.

If the Favreau-written “Swingers” concerned itself with the pursuit of meaningful romance and the Favreau-directed “Made” tackled the pursuit of a better living, then the slight if continually amusing Chef is clearly his paean to rekindling one’s passions, whether as an artist, a husband or a father.

Lengthy passages are unrelated to any discernible narrative, and seem to exist in that interzone your mind travels through just before it goes to sleep.

The empty violence and pointless style are only the biggest problems.

Anderson has abandoned a bit of his whimsical nature for the later portions of the film, but the film’s first half hour presents one of his most darling settings yet, until, of course, it all crumbles into murder, mayhem and bad renovations.

Wood’s energetic, tightly wound performance carries the movie; his ability to juggle all the different information coming at him — keeping time on the piano while speaking and hitting his cues — is admirable and probably exhausting.

For a movie with the ostensible mission of spreading the Gospel, it does a poor job of speaking to anyone except the faithful.

A relatively high-flying adventure, injecting the always-entertaining airplane-set thriller with some fresh thrills and a cadre of characters worth getting invested in.

The film’s tone is wildly uneven.

The first sixty minutes of Pompeii are awful, bordering on unwatchable... The final forty-five minutes of the movie however are, by sheer force of will, irrefutably entertaining. At least there’s raining death in the form of fireballs smashing up the place.

It’s funnier than it has any right to be, really.

Not every book should be made into a film and, as appears to be the case with Winter’s Tale, not every book can be (especially this one).

That it’s not totally dialed in throughout makes it a victim of the same thing most bad movies fall prey to: having the spark of a great idea rested awkwardly on top of a spinning mess of execution.

More aggravating than endearing, although there’s an interesting idea buried beneath all the cutesy plot details.

RoboCop has sound and fury to spare and even an inspired idea or two lurking beneath that polished exterior, but much like its upgraded namesake, this watchable mess ultimately lacks a prime directive to call its own.

I’ve given A Field in England two tries now and each time found it to be occasionally ferocious and funny, severely trippy for stretches and at times outright tedious. With that said, I still can’t wait to see what the man does next.

Monuments certainly isn’t unbearable to watch, but for all its quality pedigree and good intentions, the result is a frustratingly flat film that drifts from moment to moment with a curious lack of urgency and an overbearing sense of self-importance.

Just plain funny, loaded with joke after joke and pun after pun.

The most awkward thing about That Awkward Moment is that the majority of it just doesn’t make much sense and, as a relatively light-hearted spin on the romantic comedy genre, it absolutely should.

Sprawling between plot lines and shifting between tones for longer than it ought to, but laden with enough pockets of truth to make you wish it had been better, more restrained, more disciplined, more trusting in its own emotional sensitivity to spare us all manner of dorky detours.

There’s just too much good stuff to dismiss White Bird in a Blizzard out of hand, even if it does have a somewhat dull and desultory plot.

The Trip to Italy is plenty enjoyable for fans of the first one and these two, but by the end, it also has the consistency of reheated comfort food.