Tends to run low on steam well before the end, though Waters gamely tries to pump things up with filthy novelty tunes and clips from old stag films.

A useful aspect of watching the movie on streaming rather than onstage is you can turn on the subtitles to catch all of Minchin’s clever lyrics. Many of the quirky phrases, coming fast and furious, were muffled on Broadway and the score improved when I listened to the album later.

Unfortunately, you could probably improve Split by editing out everything around McAvoy and making it an experimental one-man show.

Struggles to maintain a sober, evenhanded tone about an utterly ridiculous story.

There are a lot of parallels with “Breaking Bad” here: the Southwestern setting, the dorky husband turned criminal, the blond wife and the scene in the carwash. But if you can avoid dwelling on its derivative qualities, After the Fall has its own case to make about how far the middle class has fallen — and continues to slide.

In the House promises to be a social satire with a flash of Hitchcockian menace, but gradually it turns into a routine thumb-sucker on reality versus fiction.

Though Water Lilies endlessly teases the audience with its sapphic subtext and young female flesh, Sciamma seems most interested in showing how extremely cruel adolescent girls can be to each other.

Pretty far-fetched even for a franchise about rare genetic mutations that allow people to read minds and shoot lasers with their eyes. It’s not bad, just crazy.

Personal Shopper doesn’t have much of a plot, but if you can tune into its languid frequency, it will get under your skin.

It's hardly a dramatic story. You learn absolutely nothing about her personal life. But there is plenty of drama in that amazing, soulful voice and the songs she sang.

Undeniably powerful, grimly fascinating.

Grows on you like kudzu.

Blunt and Dornan’s chemistry eclipses anything the hunky actor ever managed with Dakota Johnson in “Fifty Shades of Grey.”

Even after nearly three hours of sitting, I didn’t feel as though I’d gotten to know the characters very well.

Like its monstrous hero, The Incredible Hulk gets the job done with minimal artistry and a lot of noise.

This absorbing documentary, which has already been shown on cable, is getting a theatrical run to capitalize on the Broadway musical "Taboo."

The collection is a mixed bag, although there are no clunkers.

Although the script works in a couple of pages of collegiate-level ethical debate about "the question of German guilt," what the movie is really interested in is the question of German sex. So think of it as "Schindler's Lust."

I enjoyed the visual effects used to create some hellish creatures and the amusing nods to "The Exorcist" - cranial rotation, even a spooky staircase. But the movie slips in the last act.

Despite the lacking wrap-up, “Ballad of Songbirds and Snakes” is, like most of the “Hunger Games” films, a well-made dystopian yarn that’s better acted than it needs to be.

I have to confess that this surreal departure by the iconoclastic filmmaker tried my patience more than a bit.

Après Vous arranges for a normal guy to get stuck with a blithering wreck. But whenever things threaten to get really silly, it pulls back.

Uncommonly well-acted and beautifully shot on location in southern India, but it's not exactly riveting.

Well-acted and nicely photographed, and has good action sequences, even if the screenplay (by M'Bala, Jean-Marie Adiaffi and Bertin Akaffou) is simplistic and there are slow stretches.

Unfortunately, director Jessie Nelson (“I Am Sam”) gradually turns the script into marzipan.

Frears has a lot of fun with the bad tempers and high spirits of this crew of adrenaline junkies, and though the story falls a little flat, the script is sprinkled with dry wit.

Much of Finding Amanda doesn't stand up to close scrutiny, but at its best the still-boyish Broderick suggests his most famous character, Ferris Bueller, going through a midlife crisis.

The film’s cool-looking desaturated look (not unlike “The Road”), plentiful action and Washington’s charismatic gravitas as the taciturn hero make it relatively easy to overlook the pretensions and implausibilities in the script.