It’s a fairly predictable thriller with few emotional moments apart from anxiety, and even fewer revelations.

A mediocre film that's unaware of the poor choices it's making is much harder to watch than a bad film that relishes its stupidity and poor taste. At least the second kind of film can be fun.

Leone continues to grow as a filmmaker—and there’s something interesting about watching that unfold throughout the franchise. But his screenwriting continues to let him down, jumbling his concepts with shallow mythology, atrocious dialogue, and ridiculous padding, leading to another film in this series that pushes over two hours. I’m still rooting for Leone to figure it out, but it’s not in this one.

The film does a good job conveying the excitement generated by that band as a live act, especially in San Francisco and Los Angeles. But though it produced some remarkable music, Cream’s success was short-lived.

The problem, though, is that we never get enough sense of Paz's interior life to judge this movie as anything other than a comeback story about a nice guy who got knocked out by the cosmos and hauled himself up.

The Swimmers is about a cause much bigger than the Olympics and is told on a personal scale that makes the issue accessible and unforgettable.

Like "Cat People", The Banshee Chapter is both elegant and terrifying.

Still, the funny lady is better at zinging quips than defining her Socialist agenda.

What is most unexpected about Permission is its sense of poignancy and tenderness. In its own way, it's quite heartbreaking.

Brandon Dermer's I'm Totally Fine is a funny and charming movie, with two entertaining performances from Jillian Bell and Natalie Morales at its center, but where it really works is in its understanding of grief, and how grief can turn someone's world—and mind—upside down.

It's an intriguing idea for a film, I suppose, but it proves to be pretty much all setup with precious little follow-through. Not even the good performances from the two leads can make the whole thing work.

Through cinematographer Mark Schwartzbard’s lens, The Photograph feels like a gentle throwback to romantic movies that left their audiences in good spirits as they filed out of the theater.

The Lesson, directed by Alice Troughton from a script by Alex MacKeith, aspires to be high-toned but only gets to the peak of a cliché slag heap.

The documentary's best material, other than the archival stuff, comes in how it flirts with an analysis of Wallace’s musical inspirations like his Jamaican background and what he took from a jazz musician who lived down the street. Sadly, there’s too little of that, and too many rhymes that we’ve heard before.

Dunham displays a remarkable skill when it comes to using limited space, trapping his characters in a warehouse on a life-changing night and watching the insecurities that they have shrouded in macho masculinity come bubbling to the surface.

Sadly, the concept only takes “Fall” so high, and the execution, including some ineffective acting, editing, and other technical choices, makes this a misfire. It doesn’t exactly crash to Earth as much as drift off into the forgettable air of film history.

Funny Boy falters when trying to link together the personal and political, making for a well-intentioned film that never delivers much depth.

While I remain disappointed that the sequel gives me a subdued Gru and an uneven pace, I keep remembering things about Despicable Me 2 that make me smile. For every meh moment, there's almost 2 well-conceived gags or lines.

There’s enough here in the sheer wealth of material that fans of Peterson’s or jazz could find this documentary worth the runtime. But it’s unfortunate that Avrich and his team were not able to shape this material into an overall stronger narrative.

The always-engaging Renate Reinsve delivers yet again (as does talented co-star Ellen Dorrit Petersen). However, “Armand” is a frustrating, over-long movie that starts with an intriguing premise and then starts fighting it almost immediately.

It’s a confident, engaging film, undone by some narrative sag in the middle but worth seeing for its opening and closing acts.

It's Glass who gives Visitors something like a structure, alternating between long, contemplative stretches and moments of ecstatic grandeur, like the crowd of sports fans who erupt in (extreme slow-motion) joy at some victory.

Ultimately, it’s an entertaining dramedy with strong performances from Deutch and the quickly-rising-star Mia Isaac (also excellent in the recent “Don’t Make Me Go”), but is too often willing to poke fun at easy targets instead of really asking why people lie for popularity or how we turn survivors of extreme violence into celebrities.

We come to it with high expectations and it is especially disappointing that this movie never comes together.

Jagged rides the wave of that excitement, but avoids opportunities to explore deeper below the surface.

There’s a lot of good awkward fun to be had as the viewer simultaneously laughs at Otto’s expense and hopefully commiserates a bit with him.

This Louis Theroux-starring film belongs to the Michael Moore school of docu-making, in which much hinges on the personal viewpoint and observational wit of the on-camera investigator.

Even though half of her screen time consists of her being seen but not heard, Garner has a consistent crispness; her character is simultaneously transparent and slightly enigmatic.