Lost Girls and Love Hotels is too vapid to work as a psychological drama, too silly to work as a passionate romance, and too tepid to work as a sexy guilty pleasure.

Ultimately, Museum Town is a loving tribute that misses some opportunities but also fully represents the unpredictability of life.

[Aselton's] excellent playing Erin, despite scenes of questionable worth concocted by the screenwriters. But it’s not enough to save a collection of ideas that never quite cohere.

Even those who admired the “Raid” films for their style and heedlessness might find this to be little more than an accumulation of action movie cliches that they have seen enacted to much greater effect in other and certainly better films.

It is a film that can sometimes frustrate in its supporting characters but Cahill and his talented cast are unapologetically willing to explore the kind of complex intangibles that filmmakers often ignore or merely turn into pretentious drivel.

At least audiences who hang in there will be rewarded with Arthur in concert doing a gravelly yet stirring version of Billy Joel's "Lullabye (Goodnight, My Angel)". It's one of the rare instances when Unfinished Song achieves a heavenly state.

War Dogs is a film about horrible people that refuses to own the horribleness.

While some might decry the ludicrous showdown that unfolds in the darkened aisles of McCall’s mega-store workplace, I got a kick out of watching Washington turn everyday hardware supplies into lethal weaponry.

The movie finds its feet, and unrolls as a pretty suspenseful, largely engaging, and hardly ever too-over-the-top spy thriller.

Immaculate feels like both a throwback to another era of Italian horror and a timely commentary on woman’s bodily autonomy, but it can’t match the flair of the former and lacks the thematic thrust to convey anything resonant about the latter.

There’s no question that Islamophobia is also on the rise around the globe, and this film — however inadvertently and well-intentioned — plays directly into it.

The Intervention is no embarrassment, and any time a woman is allowed to direct a film benefits the cause. But if DuVall’s purpose was to provide a snapshot of her generation, she should have sharpened her focus and dug a little deeper.

At its best not in its scenes of men acting like children or the beats that feel more written than organic but in its most believable scenes of joyful, male friendship in between the broad humor and melodrama. I just wish there were more of them.

Jordan Weiss's feature debut, "Sweethearts," has its charming moments but feels uneven overall.

With a strong cast and an intriguing premise that basically transports a Western plot into outer space, Settlers should work, but it simply sags in the middle, only barely sparking to life again in a more suspenseful final act.

With a documentary as flabby but well-meaning as Best and Most Beautiful Things, you have to savor the small stuff.

Pseudo-sensitive bro-dude rom-com Date and Switch comes out today, and it already feels dated.

Headey starred in "Game of Thrones," but also works with the International Rescue Committee as a human rights activist. She executive produced The Flood, and it is clearly an issue important to her. Her performance is quiet and controlled.

It certainly doesn’t help that Tobias and Elin are entirely banal characters with nothing to define them but their loss.

Hemsworth’s character has more action movie clichés than Carter’s got liver pills.

The cranky old-coot humor between Studi and Cox is a welcome break, and there could have been more of it.

A curious, ultimately unsatisfying romantic comedy about two sisters in love with the same man.

Without being explicit, without being overtly angry, Kabakov's installations are a critique of the entire system, a critique leavened with irony, wit, and fantasy. It's powerful stuff. You go into Kabakov's labyrinths of associations and you don't come out.

Mufasa never quite bursts free of the constraints placed upon it, but those constraints never stop it from moving, or from being moving. It has a signature, rendered with a steady hand.

Even if you can’t stand the Minions (who are once again voiced in “Minionese” by Pierre Coffin), you might find this one tolerable. Especially if you’re old enough to get the 1976 jokes yet feel young enough to find bemusement in all the goofy slapstick.

If this movie and her previous project signal a shift in Watts' career that will be dominated by survival tales that put her at the center of a movie and showcase her doing things that give most viewers a pulled tendon just sitting there in the audience, so much the better.

Frustratingly not-quite-there from start to finish.

Once this self-consciously campy fairy tale stops trying so hard to emulate every high-school comedy and TV show from the past 30 years and relaxes into a stream of clever repartee and amusing situations, it eventually offers enough LOL opportunities to deserve a passing grade.