Bertolucci is indeed a master, and Me and You evidences numerous thematic connections to his earlier work as well as constant proof of his distinctive gifts as a stylist.

A week after seeing The Wandering Earth, I'm still marveling at how good it is. I can't think of another recent computer-graphics-driven blockbuster that left me feeling this giddy because of its creators' can-do spirit and consummate attention to detail.

A movie steeped in the traditions of film noir, and its narrative will become complicated very quickly. Winterbottom, who also wrote and co-produced the movie, creates a story about gorgeous people committing crimes and double-crossing each other, where no one is innocent.

Towelhead presents material that cries out to be handled with quiet empathy and hammers us with it. I understand what the film is trying to do, but not why it does it with such crude melodrama. The tone is all wrong for a story of child sexuality and had me cringing in my seat.

It is a slimy, icky, violent film that doesn’t always come together but it also undeniably feels like it has emerged from the passions of its creators, particularly director Scott Cooper and producer Guillermo del Toro.

A well-crafted but otherwise undistinguished and tedious entry in a long line of European films that make a grotesque show of war’s horrors, often viewed through the lens of childhood’s disabused innocence.

More damaging than underwritten character dynamics is the overall tone of “Road House,” which needed to be far more tactile to be effective.

Although charming, the slight “I Don’t Understand You” struggles to sustain its spark. It’s a series of silly events that get progressively ridiculous and bloodier.

The gooey center of the film works for those with a high tolerance for things that might make a majority of the population queasy.

If you’re a big booster of any of the lead actors (I’m something of a Cannavale partisan myself), this will be worth your time.

Throughout the film, Ford’s behavior, which should be in the foreground of this story, seems to curiously fade to the back.

A family-tennis drama with a plot that could be described as "conflict-lite." All problems are telegraphed from the get-go, giving the film's opening scenes that weird vibe where characters spout exposition at one another.

William simply devolves into a drab, moody morality tale for parents about not treating your kids like test subjects.

The Aviary experiences a drop in quality during its attempts to goose the audience, but its two lead performances remain consistent.

Kodachrome, alas, too often travels a well-worn and predictable highway, one that was traversed to near-perfection not too long ago by Alexander Payne’s “Nebraska.”

For a while Pearce does a very clever balancing act, taking everyday unpleasantries and grotesqueries of life and exaggerating them just so.

It’s no surprise that the cinematographer’s directorial feature debut is an alluring ghost story full of visual intrigue and surrealist imagery, giving him the space to showcase his strengths while working out some of the storytelling mechanics.

Is Whiskey Tango Foxtrot a horrible movie about a white outsider plopped in the middle of Afghanistan? No, that would be last year’s “Rock the Kasbah.” But neither does Whiskey Tango Foxtrot fulfill its assigned duty to provide evidence of Fey’s versatility.

A deeply felt teenage melodrama.

Geraldine Viswanathan has been steadily working her way through the coming-of-age subgenre, on her way to becoming a star. In the open-hearted romantic comedy The Broken Hearts Gallery, the charismatic whirlwind of an actress is vivacious and lovable.

So what does work about Army of the Dead? It’s fun and unpretentious, driven more by its action set pieces than anything else. It’s clearly as inspired by modern “fast zombie” films like “World War Z” or “28 Days Later” as it is the works of the master, and there are moments when its grand insanity just clicks thanks to the set-piece ambition of its filmmaker and the willingness of its cast to go anywhere he leads them.

It's strong stuff, and the actors are fully up to it.

While White’s direction is atmospheric, the sense of tension never gets crucial; the movie’s got more of a mood of resignation than of conflict. For all its respectful and respectable qualities, it also suffers from a certain inertia.

Writer/director Adam Egypt Mortimer is clearly a movie-mad soul, and if he can get a little further out from under his influences he may concoct something a more consistently geekily transportive.

It truly feels like “The Walking Dead” and now maybe “The Last of Us” have spawned a wave of films about how humans respond when civilization collapses—“Arcadian” is one of the better entries in this growing genre about how screwed we all are.

A little bit of nuance, which might seem out of place in such raunchy environs, actually goes a long way.

Though it has a few big laughs, Uncle Drew mistakes its goofy pitch for a free pass to be very simple with its comedy, and sappy with its emotions

Tomas Weinreb and Petr Kazda’s film, on the other hand, narrates a true-life crime but fails to provide an element that might’ve lifted it above tasteful art-house ordinariness—an engaging point of view.