Zellweger plays Bridget just as charmingly as she always has -- flawed but endearing; just right in her own idiosyncratic way.

Wingard’s movie, for all its abundant mischief, doesn’t trust the power of its own illusion. You can see these woods a lot more clearly now, and what you see is that you’ve been here before.

Any movie that leeches the perverse fun out of illicit voyeurism, then tosses in a grim gotcha of an ending to make everyone feel worse, when the kids’ actions are distasteful enough, is worth avoiding.

Although the script by Olivia Hetreed and José Luis López-Linares traffics in vital ideas and still-timely assertions (“We shouldn’t try to fit facts into a set of beliefs!”), a looser, less self-important approach would have helped.

Under the workmanlike direction of Jon Cassar (“Forsaken”), “Bough” breaks little new or inspired ground as it spins out its mildly effective, occasionally silly cautionary tale.

The script telegraphs things, but also often descends into incoherence. It tries to be too many things at once, and ends up being nothing.

Though its focus is the two years the Sharps spent in Europe, it rushes through elements of their lives that would seem to warrant more examination

Like a wedding toast gone awry, the movie doesn’t know where to begin or end and is cluttered with factoids and awkward asides.

That the World War II-era drama Ithaca was directed by actress Meg Ryan may prove the most notable yet least successful thing about this oppressively sentimental journey.

Germans and Jews is too sophisticated to provide a glib answer, but it shows how deeply involving just asking the question can be.

The People Garden is so slow and spare that it barely registers. It just floats through the forest, silent and bloodless.

Perhaps the best thing you can say about Kicks is that its strengths and weaknesses make for intriguing bedfellows, like a cautionary fable that’s as much about the hazards of forging an artistic authenticity as it is the pitfalls of a corrosive approach to manhood.

From the overwritten, pop-culture-reference-laden dialogue to the incessant attempts to be shocking, Happy Birthday tries way too hard. For a movie that doesn’t have much to say, it sure never stops jabbering.

The story floats along like an intoxicating cloud of vice — an effect that Wood achieves with a throbbing, surging soundtrack and an alternately propulsive and hypnotic sense of camera movement. By the time the sensory rush dissipates and the hangover sets in, only Wood’s sharply observant social critique remains.

[A] richly rewarding tribute.

Emotions run deep and wide here; anyone who’s ever lost a parent, longed for love and acceptance, or tried to find his or her true self should easily relate. It’s a terrific film.

Noah’s awkward, unconvincing script aside, Lewis is the true weak link here as he struggles to sell Max’s wobbly lines and emotions. This is a thoroughly painful experience.

Brother Nature has its amusing moments, providing a showcase that tends toward the formulaic and predictable.

Dancer becomes a gentle inquiry into how a gifted performer disrupts his life in order to test his passion.

Perhaps it’s best to appreciate Demon not for what it implies but for what it simply and unmistakably is: A bravura testament to a talent silenced far too soon.

Unlike the highly charged “Sicario” and other recent drug trade-themed movies, the film, shot in New Mexico, eschews explosive confrontations and political judgments in favor of complex, thoughtfully portrayed characters and tense, compelling situations.

Efficient and effective in Eastwood's experienced hands, Sully has interwoven a crisp and electric retelling of the story of the landing we know with a story we do not.

You may well question the worth of a documentary that so fully embraces the perspective of a narrator this unreliable, just as you may crave the reassuring conventions of a more balanced filmmaking approach. But even for those who don’t regard the notion of perfect objectivity with the wariness it deserves, there are compensatory insights in this movie’s unapologetic fascination with its subject.

Had the movie been just a little more thought through, it could have been a new classic. Antibirth is still quite good, though, with memorably surreal imagery and an abrasive texture that enhances Perez’s overall vision. As a portrait of a middle America full of forgotten people and ruined civilizations, this is one of the year’s scariest movies.

The Wild Life is a family-friendly take on the story of Crusoe, with a twist, and kids no doubt will be drawn to the colorful animal characters, but there's a lack of emotional connection that makes the film just another cartoon flick, not a special favorite or animated classic.

It’s an off-putting mix of matters whimsical and disturbing, more obvious and ludicrous than chilling.

One wishes Bernstein had more cleanly presented the arc of Purcell’s life and career and how her representative eye evolved. Nevertheless, the sheer number of images shown gives this brisk foray into Purcell’s work an admirable guided-tour feel.

It runs less than an hour, but the inspiring documentary Black Women in Medicine packs in enough smarts, context and emotional clarity for a far longer film.