Great sequels don’t just repeat, they build. This one treads beautifully-rendered water.

We the Parents, one-sided and promotional as it often feels, presents a possible solution, as well as the difficulties in achieving it.

A handsomely mounted, never-less-than conspicuously intelligent but ultimately too-conventional historical drama, The Liberator shoehorns the epic life of early 19th-century South American revolutionary Simón Bolivar into two hours of intermittently powerful cinema.

Meandering around complex spiritual inklings more than it makes a coherent statement out of them, "The Righteous" manages to impress with its curious demeanor even when its overwrought ideas don’t add up to an articulate whole in the aftermath.

The whole cast (which also includes Oliver Platt as a simpatico family solicitor) sinks its teeth into the material, which is reasonably meaty.

It's as visually indistinct and paint-by-numbers-plot-driven as most Marvel Comics-based projects, especially the gaggle of recent Avengers-related films.

The script by Hiroyoshi Koiwai doesn’t exactly hold together narratively or thematically, but there are Miike touches throughout “Lumberjack” that keep it entertaining, even if he's probably made a better movie while you’re reading this.

The Shape of Water doesn't cohere into the fairy tale promised by the dreamy opening. It makes its points with a jackhammer, wielding symbols in blaring neon.

It's a lovely way to open a film that is at its best when it is displaying dancers in motion and exploring the complex dynamics of a rehearsal space.

Narratively disjointed but drumming with earnest yearning, directors Jonathan Vinel’s and Caroline Poggi’s queer romantic thriller “Eat the Night” understands the lived-in comforts of a virtual space when compared to the horrors of the outside world.

If you are in the mood for a "they don't make movies like that anymore" movie, meaning soapy melodrama with enough glamorous glow to keep you from thinking too hard, then The Last Letter From Your Lover might do the trick.

The major problem with That Summer is the inescapable fact that it only barely qualifies as a movie.

Even if you have a high tolerance for whimsy, Mood Indigo may still be too much.

A Million Miles Away is an inspiring movie based on an inspiring story told in an inspiring way. It’s a tale of literally astronomical success in the face of daunting adversity, and it’s important as a reflection of hard-won representation.

Hinging on the nitpicking anxieties of the true crime genre, “Strange Harvest” maintains an air of abject horror, even if its penchant for ease nudges focus out of the way.

The film as a whole just never quite overcomes the inherent familiarity of its premise to become its own unique thing. Those looking for a story equal to Cranston’s contributions to it are liable to come away from it feeling slightly disappointed.

The best elements of the documentary Harmontown capture the unique raw energy of Harmon.

While Canet's direction can't be said to be all over the place, the movie never settles into the groove it so dearly aspires to.

Despite the familiar nature of the themes writer/director Neil Burger is exploring, his film still offers plenty of tension and his trademark visual panache.

The cake part of the story feels imposed, a problem since it is the film's organizing principle. It is a tribute to the two young actresses and the supporting cast that this caring friendship survives the artificial cakebarring.

The Banker remains only serviceable.

It takes its stylistic cues from a variety of sources, including German expressionism (particularly the frequent silhouettes) and "A Charlie Brown Christmas."

The film was originally titled “North Star.” Yet, despite a few moments of connection and insight, that is precisely what this story is missing.

Lousy Carter, at its best, feels like a cruel joke on its own protagonist, the kind of guy so convinced of his own genius he doesn’t want to mess it up by actually putting himself out there.

The case itself ultimately proves less an involving puzzle for the audience than a lesson for Holmes in humility.

An action film, a spy thriller, a meditation on revenge, and a story about mentors and pupils, but mostly it's a movie that loves to maim and kill people and is very good at it.

It’s a fairly familiar critique of patriarchy from a humanist and feminist perspective, but one put across with some very impressive filmmaking skills by a first-time director.

Murder Mystery 2 has no loftier goals than disposable entertainment for 90 minutes, and it gets the job done.