Tonally, the film swings between whispery romance and ominous horror as it explores the dark side of love and lust, including an amusingly gory meditation on the notion that the person you think is your beloved might just rip your heart out.

Better than any automobile flick put out by Hollywood in a while and, thanks to some genuinely exciting moments, it is easily the most entertaining so far of this summer's big, brainless action movies.

Only marginally interesting.

Barrow's frozen vistas are a perfect match for the noir tone of On the Ice. Unfortunately, the emotional landscape of MacLean's stoic main character, Qalli, is often as blank as the tundra.

Despite its stomach-turning images (and maybe because of), it is a daring, provocative work by a talented helmer who gets off pushing the envelope. He should be supported, no matter how outlandish he gets.

Given the scarcity of movies about lust from the female point of view, this is kind of a bummer.

The dialogue is ridiculous, the acting wooden - but that's not why we go, is it?

Fails to deliver the dramatic punch.

A cinematic petit four.

On the whole, the pairing of these two comedy titans is forgettable and slow as an ice age. To put it in skiing parlance: Downhill is pizza-ing when it needs to french-fry.

An intriguing sci-fi thriller, but in the end it doesn’t do enough with its ideas.

A blast from the 1980s, when the idea that men were essentially rapists and women rapees was a popular way to score chicks on campus.

Tries to be a gay version of "Sex and the City," which was pretty gay to begin with.

Lifetime movies have their pleasures, and so does this film. Chief among them is the cast, a group of over-45 actresses who really are better than ever; in the cases of Brooke Shields and Daryl Hannah, remarkably better.

Directed by Anthony and Joe Russo of “Avengers: Endgame” fame, the well-worn drama gets high marks for style and proficiency, but you don’t have to be Nostradamus to know exactly where it’s going every step of the way. At the movies, stories like this one are a dime bag a dozen.

Takita could easily trim 30 minutes of flab and oceans of tears from Departures. It still wouldn't merit an Oscar, but it would be a lot more watchable.

A melodramatic import from Algeria, is so relevant in this age of global terrorism, it's a shame it isn't much better.

Many of Kampmeier's characters are either ill-defined or clichéd.

A fine cast headed by the underrated Greg Kinnear lifts this year’s third major religious movie, the fact-inspired Heaven Is for Real, somewhat beyond its Hallmark Channel-caliber script and visuals.

Treads water.

Unless you're already into this stuff, it'll be hard to stay awake through the documentary, which was made on a low budget with technical values that are decidedly amateurish.

Tries, with much less success, to do what "Witness" did in exploring an Amish town.

Ranges from exquisitely sensitive to crass, but overall, it's an interesting effort.

Ultimately, this film reveals the Israeli self-image, but not much more. The people with the cameras pass by Arab neighbors, and what the Palestinians’ home movies might look like remains unexplored.

The book is a fascinating, insightful, touching window into a unique community with immense struggles. On-screen, it’s exploitative.

All of the actors are enjoying themselves, and the movie is stuffed with history, atmosphere and vivid characters. What's in short supply, though, is laughter.

Though it comes from a director whose résumé includes "Flashdance" and "9 ½ weeks," these smoke-filled interludes are less erotic than today's average car commercial.

A harmless celebration of idiocy that is the cinematic equivalent of an overeager, block-headed puppy chasing its tail.