A better than adequate date movie.

A sun-splashed noir that loses its appeal in the last act.

“It’s a little self-congratulatory and light on story,” says one student of another’s film project in Dear White People, which feels like director Justin Simien getting out ahead of inevitable (and accurate) criticism.

Slightly radical in portraying high schoolers as human beings of normal niceness and intelligence. That means this winsome comedy is a little low in the stakes department, not to mention predictable, but it gets an “A” for charm.

Bugonia buzzes by, if sometimes nauseastingly, and is a huge improvement from Lanthimos’ episodic drivel last year.

Bate is to be congratulated for reminding the world of Leopold's wickedness, even if he does OD on re-enactments.

As always in Veber's films, the predictability is part of the fun.

Hurt, who starred in Kwietniowski's earlier study in compulsion, "Life and Death on Long Island," is oily perfection as the devious Victor.

Lawrence’s script for The Rewrite could have used one, and his direction is uneven, but it’s still rewarding watching Grant dispensing his dithery charm surrounded by old pros.

If you can overlook its TV-episode look, occasional lapses in logic and detours into lurid overkill, this old-school psychological thriller, which marries a tracking-the-serial-killer narrative with occult themes, is a creepy diversion.

Basically a two-hour argument for regime change that isn't half as incendiary or persuasive as its maker would have you believe.

Jia's message is that globalization has failed to help the Chinese masses. We hear you, dude, but did you really need 143 minutes to get your point across?

Despite all of the hideous critters Hellboy encounters, there is a hint that things are considerably weirder elsewhere.

For rock fans, hearing many Led Zeppelin and U2 classics on a theater sound system is worth the price of a ticket.

Seth Rogen’s raunchy Sausage Party contains occasional flashes of satirical brilliance. But in true stoner form, it also thinks a lot of stuff is funnier than it actually is.

Mock didn't find room for any of the many critics who accuse Kushner of being an anti-Zionist - and the film unfortunately ends in 2004, just before its subject began working on his controversial script for Steven Spielberg's "Munich."

Somewhat refreshingly aspiring to be nothing more than a disposable summer popcorn movie, this is a flick that delivers more smiles than laughs and has some wonderful special effects.

Perfectly enjoyable swashbuckling, eye-catching entertainment.

If Top Five doesn’t go deep, though, it is intermittently very funny.

The sheer loathesomeness of protagonist Stephen Glass as portrayed by Hayden Christensen makes Shattered Glass hard to watch.

Scored by Bruce Hornsby, Lee’s film veers all over the place tonally, juxtaposing scenes of spurting gore with soothing jazz. Hess’ WASP-y mansion, with its huge photo portraits of African warriors, is an interesting study in mashing up race and class stereotypes, though the film’s rambling plot may leave your brain feeling a little mashed, too.

Freaked-out funky weirdness starts to happen all around him (Rockwell).

Fly Away is more situation than story, though, and the Germann character's welcoming, almost saintly vibe doesn't fit.

A perfectly enjoyable sci-fi thriller.

G.B.F., which concludes with a clumsy parody of the prom climax from “Carrie,’’ offers an admirable message of tolerance for teen audiences — too bad it’s been absurdly saddled with an R rating, even though there’s far less innuendo than in “Easy A.’’

A high school coming-of-age film that dares to push the envelope. It doesn't always succeed, but that's not for lack of trying.

Corcuera's unflinching documentary Back of the World is a real-life horror story told in three parts.

The tedious film might have been worth watching if Burman had given reasons to care about Ariel or anyone else. He doesn't and we don't.