Theater lovers will enjoy seeing these actors take on such iconic roles, but they’ll find themselves wishing they were seeing the same great talent on the stage.

A handful of amusing details in desperate need of a purpose, the film spends its first half looking for a compelling reason to exist, and its second half trying to disguise the fact that it can’t find one.

Justin Chon’s overcranked but achingly heartfelt “Blue Bayou” is a case-study in how issue-driven melodramas are a double-edged sword.

Intentionally or not, however, Fading Gigolo actually functions as something of a statement on Allen's persona—onscreen and off—as it has been understood in the public eye. And the resulting conclusion, like the movie, is a decidedly mixed bag.

A labyrinthine descent into the grotesque extremes of a Disneyfied society, Escape From Tomorrow is surreal for many reasons and wholly original because of them. It's also a daring attempt to literally assail Disney World from the inside out.

Charlie Harper is the kind of film whose impact will always be the strongest as you’re walking out of the theater. The lack of originality and occasional on-the-nose dialogue cancel out most of its rewatch value, but it’s hard not to be affected in the moment by the sincerity of its storytelling and the chemistry between Robinson and Jones.

Any expectation that Salomon’s profound story might be depicted in grown-up, searching animation that’s still all too rare, is quickly dashed. Instead of being brought to a place of soulful contemplation, Charlotte merely becomes cinematic Ambien. What a tragedy.

It builds to a conclusion that, like the best parts of this film, combines movie-magic whimsy with hard-won realism, slipping some very grown-up ideas (and ideals) into a classic talking-animal charmer.

While Papadimitropoulos and his cast capture the perma-vacation feel that permeates Mickey and Chloe’s happiest moments, he’s less adept at navigating the heftier emotional elements.

Not only is Indiana Jones and the Dial of Destiny an almost complete waste of time, it’s also a belabored reminder that some relics are better left where and when they belong. If only any previous entries in this series had taken great pains to point that out.

Much like Wicked, Wicked: For Good works its way up to a massive duet between the pair, so emotionally resonant than even the most wicked of audience members will still likely shed a tear (the song is, of course, “For Good”). It’s an unmitigated high note, but it’s a lonely one indeed. Is it alone worth the wait? Maybe, why couldn’t the entire film feel that way?

Despite its confused and overstuffed worldbuilding, “Elemental” has enough charming moments to get by, even if its meaning lies less in its ill-conceived immigrant saga, and more in the personal drama that lives a few layers beneath it.

7500 takes a familiar scenario and doubles down on its claustrophobic potential to make it fresh.

Zombie's witches aren't as scary as the credible psychopaths he has portrayed before, but The Lords of Salem contains enough frenzied imagery in its climactic moments to make the spell linger.

If the faintly amusing final product is pretty thin gruel when compared to the rest of its filmmaker’s output, the project’s high-concept construction is clever enough to sustain the meandering story it tells.

The film is both sci-fi/fantasy and Bollywood romance, an ambitious introduction to a mythological cinematic universe with the expected hiccups of building a massive world from scratch. It’s an admirable attempt and unmissable theatrical experience for any Bollywood fan.

Torn between action and comedy, irony and sentiment, and rah-rah jingoism and genuine self-reflection, Heads of State is a surprisingly entertaining romp.

Writer-director Todd Berger, improving his technique with his second feature-length credit following "The Scenesters," combines enough energetic performances with charged wit to make this one doomsday comedy that earns the right to its familiar backdrop.

Giving the final days of Christ a contemporary, allegorical spin, The Book of Clarence is more concerned with entertainment value than delivering a sermon. The results are tonally erratic, but absolutely interesting, at the very least.

Plot is often the cruelest fate that could ever befall a cool premise, and so it goes with Scott Derrickson’s The Gorge, a high-concept genre exercise whose shallow depths are all too eager to come to the surface.

Frustrating as it can be to watch such an intriguing movie get so high on its own supply . . . Chainey’s aggressive refusal to engage with the specifics of Darcy’s inner “rot” or to unpack Daphne’s artistic insecurities allows this delirious three-hander to remain appealingly immune to the “everything is trauma” approach that has made so much of modern horror feel like a form of collective psychotherapy.

The new version of “Pet Sematary” is both darkly humorous and quite chilling, modernizing some of the cheesier emotional beats of that earlier adaptation. ... It’s in the third act that Kolsch and Widmyer’s ambitions get the best of them.

The evils within the film feel tragically prescient, and “The Most Precious of Cargoes” makes those parallels explicit

Director Chris Perkel, who also edited, hasn’t made a movie so much as a prolonged tribute reel with ample material to fuel a dozen lifetime achievement award ceremonies.

The Laundromat may be blunt, and the humor hit-or-miss — but it swings wildly at a worthy target, and eventually hits its mark.

Decency, in its raw, instinctive form, is ultimately what earns The Zookeeper’s Wife a place in the self-conflicted canon of Holocaust cinema.

We take frequent and foolish pleasure watching the four charismatic leads brush up against one another while bristling against their assigned roles, with the film giving performer time to shine.

A sweet and gracious and often painfully labored dramedy about a stand-up comic who struggles to connect with his autistic 11-year-old son, Tony Goldwyn’s “Ezra” rides an emotional honesty that’s almost completely undone by the sweaty contrivances of its plotting.