Nerve gives moviegoers everything they'd want from a teen romance. It's a little less successful as a critique of life in the age of Instagram.

The Keeping Room looks at the brutality of humanity.

Rogen and Efron's characters find a novel new use for automobile airbags, too. These guys are geniuses.

Sweet. The pun is unavoidable. It's the only adjective that fully captures the flavor of the romantic comedy Brown Sugar.

Mediogre at best.

Let's face it: Kids aren't a very demanding audience. If there's color, movement, and a high quotient of silliness, they're happy.

It's a sweet, funny comedy starring two of the best and brightest in the game.

Freeman and Hoskins lend the film a level of artistry it doesn't really deserve. Unleashed has a vivid concept, but savagery and sentimentality make strange costars.

Biutiful is strong stuff, it will leave you shaken. There's poetry here, and catastrophe.

Mixes its high and low comedy with surprising success.

Never less than engaging.

In short, Gainsbourg: A Heroic Life is a charmer.

Where My Wife was offbeat and original, Happily Ever After gets bogged down in midlife-crisis cliches.

Comedy, pathos, and some schmaltzy couplets about the changing seasons follow forthwith.

The shaggy, whimsical characters have a primal familiarity, as though they were developed by a tag team of Maurice Sendak and Walt Disney.

This hotly anticipated film delivers on the premise of its celebrated title. But it offers little more in terms of suspense, originality or enjoyment. Mostly, it lays there on the screen like a big lazy boa.

Nicely filmed and acted.

I would like to be able to report that Nelson's directorial vision is grim and uncompromising. Grim it most surely is. But his movie about morally compromised figures leaves viewers feeling compromised, unable to find their way out of the fog and the ashes.

I don't think that a woman behind the camera necessarily affects the tenor of what is on screen, but never before have I seen a men-of-war film more notable for its psychology than its spectacle.

Full of forced jocularity and drawing-room hissy fits, with its cast parading around in vintage threads and antique cars, Easy Virtue is a close-to-insufferable souffle based on the 1925 Noel Coward play.

While it hits some of the usual sci-fi tropes, Creative Control's center of gravity isn't tech itself, but the relationships of those who use it.

The Express eventually reaches its triumph-of-the-human-spirit climax, but it yanks too hard on the heart strings during the long journey there.

The Twilight star's line-readings have become like Edward and his bloodsucking kin: They lack a pulse.

A well-shot, gore-free psychological thriller about our elemental fear of darkness, Lights Out has a good deal in common with "The Babadook." While it can't touch Jennifer Kent's masterpiece, it does mark the arrival of a major new talent.

The film veers between cutting parody and cliche, threatening to become interesting at any moment, but never quite doing so.

Eloquently adapted from the collection of A.M. Homes stories of the same title, Troche's film derives its voltage from the way it burrows to find that the connections within -- and among -- families are very much alive.

There are three action sequences here so delightful, so hilariously deploying an old tool for a new use, that they prompt smiles long after I saw the film.

Populaire plays like a musical - you expect anyone, at any time, to break into song.