For all its frank sexual language, Kelly & Cal is hardly revolutionary or shocking. It drags in the second act and has an ending so obvious, you can smell it from the opening scene.

Charming, emotionally resonant, yet nowhere as fresh and dramatic as its predecessor.

Wetlands is one of the most daring, visually arresting, innovative, and imaginative examples of filmmaking to come out of Europe in recent memory.

The raw emotions on display need no translation. David Mackenzie directs the film in a piercingly realistic style. His ingenious decision to forgo a score makes Starred Up even more immersive, because all you hear is the dehumanizing din of prison.

While it misses the mark most of the time, director Hilary Brougher's film has a promising story, an impressive cast, and occasional moments of grace.

A Summer's Tale is one of those movies where it looks like nothing is happening; there is a lot of walking and talking (against exquisite backdrops), dissections and discourse about the intricacies of romance, the false signals, the fickleness.

The Trip to Italy doesn't feel entirely new, but there's comfort in familiarity, too. And as Brydon and Coogan note in one discourse, it's the rare sequel (The Godfather: Part II) that's better than its forebear.

Life of Crime is like an errant golf putt that appears headed for the hole, but just keeps rolling and rolling, all the way off the green. In other words, just missed . . . by a mile.

An efficient, if not exactly inspiring, espionage thriller, full of high-tech gadgetry (surveillance drones! flash drives!) and low-tech action (car chases! shootouts! a shovel to the head!).

The script depends entirely too much on a succession of reporters, announcers, and spectators to provide context and detail in clunky, implausible dialogue.

If Matthew Weiner's Are You Here is good for anything, it's to illustrate how the themes and conflicts he has worked out with such depth and dexterity in all these seasons of "Mad Men" can go terribly amiss with the wrong actors, wrong backdrop, wrong tone, wrong time.

A delightful, oddball surprise.

Featuring an awe-inspiring, stellar performance by Parks and Recreation's (and Wilmington's) Aubrey Plaza as Beth, the film opens with the high school girl's short-lived death.

Any movie that considers the possibility of an afterlife, or the possibility that there isn't one, without first getting all postapocalyptic about it, merits some respect. Stay, Mia, stay!

Filmmaker Maria Sole Tognazzi is going for a quiet, thoughtful character study: a modern woman, sure of herself, but still trying to come to terms with her place in the world.

The constant flipping between stagecraft and reality creates a dissonant static that prevents any satisfying connection with the film.

Mostly, Dinosaur 13 is far too long, slogging along without momentum or suspense. These events would have been better handled in a single installment of Dateline.

Their film would be even more compelling if it followed up with further reports, perhaps a few years apart, charting the three boys' fates.

Iceland is beautiful. Really, really, really - really - beautiful. That pretty much sums up the new feature film Land Ho! That message is the film's alpha and omega. Its raison d'être. Its soul and its being.

It's all head-spinning and lovely - and a little exhausting, too.

Hollywood's latest entry in that tried-and-true genre, the disaster movie, is . . . well, it's like . . . a totally gnarly roller-coaster ride!

A dark, shaky, standard-issue superhero picture.

Calvary is also just jaw-droppingly beautiful. McDonagh and cinematographer Larry Smith capture the four-seasons-in-one-day miracle that is Ireland, with its jagged stonescapes, roiling surf, fairie towns, and bracing skies.

What If boasts a couple of near-classic comic moments, one involving jalapeno peppers and a precipitous fall.

It would be curmudgeonly to count all the ways in which The Hundred-Foot Journey is unsurprising, unrealistic, unnecessary.

Nicely timed to cash in on the Ebola panic, Cabin Fever: Patient Zero - the prequel to the gross-out franchise about a lethal flesh-eating virus and its party-hardy victims - isn't going to do much for the tourism trade in the Dominican Republic.

Code Black is sobering stuff. The American health system, McGarry's film argues, is broken. But the film is undeniably inspiring, too: Despite everything that is wrong, there are nurses and doctors and technicians determined to do things right.

This story truly is inspirational and a lesson about civic responsibility. However, it makes for little more than a TV movie or a straight-to-video snack.