If you treat Tomorrowland mainly as an immense cinematic theme park that unveils a new "ride" every few minutes—just as Bird's last feature, "Mission Impossible: Ghost Protocol" was mainly a series of action scenes—its weaker aspects won't be deal-breakers.

Draper wrote, directed, and co-stars as their mother and the lovely score was composed by their musician father, Michael Wolff.

Imagine a cross between "Annie" and "Jesus Christ Superstar," only with more speed metal. Now imagine a lot of long takes of sometimes merely adequate, sometimes sneakily brilliant performers doing simple dance steps or sing-talking reams of theatrical dialogue (adapted from Charles Peguy's religious mystery play).

You may think you know what you are about to see when you watch that opening, but you would be wrong. It's great to be wrong.

The living legend certainly deserves little blame for this misfire but she can't handle the heavy lifting required by a script and director that feel as unfocused as the film's protagonist for at least an hour.

Ultimately, my problem with so many religious horror films like “The Offering” is that they’re insulated in a way that makes them more often boring than terrifying, willing to let a languid pace try to set the mood instead of actual plotting.

[Miller's] mastery makes the movie eye-popping; his freedom and audacity make it surprising and unsettling.

I've seen this film twice and I'm just not convinced it's all that interested in the subjects it claims to be interested in. And that's a deal-breaker of a problem.

Daddy Issues is not the laugh-out-loud rom-com it had likely aspired to be, yet it’s just charming enough to make you wish it were better.

Though curiously charming, Jumbo behaves like love at first sight that doesn’t think about the consequences of the ardent now or the larger, long-term picture.

This is a film that so blatantly cribs from other popular works that it never develops a personality of its own.

At Middleton is the just the sort of trite if inoffensive diversion that barely tiptoes into theaters before landing in the cable and video-on-demand listings.

A remarkably full-bodied and frank character study that illuminates the old saw about the political being personal in a genuinely unusual way.

You wonder how high “Sea Fever” could have risen, if only Hardiman had truly embraced the bare bones of the genre, indulging in some well-wrought group dynamics and even a pair of sneaky jump-scares to boot.

Saw X returns John Kramer to the root of his mission, showing people the error of their ways and asking them what it truly means to be alive. A few severed limbs along the way are just a bonus.

A somber and derivative relationship drama.

Director Rob Letterman, aided by writers Scott Alexander and Larry Karaszewski and Darren Lemke and an energetic cast, rise to the occasion, delivering a movie that’s a lot of good creepy fun in spite of some dubious construction.

Magic Farm is eye-catching with its high saturation and punchy editing choices, but the seduction of bright and bold visuals is incompatible with Ulman’s unwieldy script. Her hands are full, and oftentimes clarity slips through her fingers.

Jean Dujardin, who’s best known here for a still-controversial performance in Michel Hazanavicius’ “The Artist,” is utterly flawless as Picquart, maintaining proper military bearing even as he begins to seethe with indignation.

Den of Thieves 2: Pantera is more about planning a job than it is the job itself. It is downright obsessive in its detail about camera cycles, false identities, and elaborate planning.

It's a mess, but a glorious one, and it's so clearly the expression of one artist's vision, seemingly immune to studio notes, that when you find yourself wondering "Who on earth could this possibly be for?" you realize that it's a compliment. As an entertainment, Rules Don't Apply deserves an extra half-star for audacity.

The heroes of this film are, in other words, selfish, but never in a venal, or ugly way. They're human, and they do what they must to face each successive challenge they're confronted with.

A documentary that offers some fascinating if glancing insights into a rich and timely subject but ends up being more frustrating than enlightening.

Daniel H. Birman’s Murder to Mercy: The Cyntoia Brown Story is what happens when a crime documentary loses sight of its focus.

Caveat is a masterpiece of understatement for a title, and a witty opener to Damian Mc Carthy’s directorial debut, an impressive and often terrifying film, taking place almost solely in one location, with two people trapped in a moldy dimly-lit house.

This "lack" of a serious critique makes Between Two Worlds the story of a pampered journalist confronted with how "these people live," plus the fallout when her lie is discovered, rather than a real shot fired at an unfair system.

Dickman's film reeks of pot smoke and non-seriousness.

Eventually it becomes a half-baked, sci-fi horror flick, and even a bit of a drama. Like “I Feel Pretty,” it uses its high-concept premise to explore notions of feminine power, at least superficially — and similarly, its execution ends up being problematic.