The main reason that Jawan doesn’t deliver more than what Khan’s previously delivered is because its creators seemingly included every masala-style sub-plot that they could think of.

Some parts of the film work better than others, but none of it has the sweetness and imagination of the animated feature. This “Snow White” is not the fairest of them all. It’s just, well, fair.

Knowing how it all ends is the main problem with a lot of gambling movies, and Win It All is no exception.

There’s no way to enjoy “Cypher” without seeing it as an elaborate and often exasperating joke at viewers’ expense.

Ultimately, How to Talk to Girls at Parties is like a hyperactive kid at a punk rock show—full of great energy and ambition, but not too sure what to do with it.

Perhaps paradoxically, it’s when the film is at its most quiet that it’s also most persuasive.

With I, Daniel Blake, Loach is using the medium for one of its most crucial purposes: to shine a light on injustices he sees all around him, as well as on our capacity for human decency.

Every Little Thing is a kindhearted film for unkind times.

All the stylishness and enthusiasm cannot disguise the fact that the mystery itself never comes close to those concocted by Dame Agatha. Then again, no one else has topped her either.

Studio 54 is at its best when detailing the history of the New York City clubbing scene.

All this sounds eminently promising. But it would need a wordsmith as witty and wise as Emma Thompson, who won an Oscar for adapting the big-screen version of 1995's "Sense and Sensibility," to pull it off and do Austen herself justice.

There’s a lot unexplored about fandom, queerness, and the ’90s indie movie scene in “Chasing Chasing Amy,” focused as it is on one filmmaker’s adoration of the subject at hand. But what’s left out of “Chasing”—and what the filmmaker decides to do, or not do, when faced with moments of clarity—can inform our own relationships with the art we love.

It's a pretty standard story of sports uplift, a familiar tale of triumph over adversity.

The entire cast is excellent, including a surprise Filipino guest star. It's a pleasure to see their jubilance in bringing their culture to screen, which shines even in the script’s weakest moments.

This sometimes rewarding but also bothersomely uneven comedy is Julie Delpy’s sixth feature film as a director; she also co-wrote.

Parents will appreciate the way the pups tackle problem solving, working together to make the best use of each character's talents, coming up with alternative strategies when the initial plans are not working, and understanding the mistakes made by team members.

The bag of ensuing twists in “Bring Him to Me” may not entirely redeem the clichés that made them possible, but they do keep one alert.

While it meanders more often than it should with some pretty slack pacing, strong character work by Neeson and an excellent supporting cast hold it together.

As focused and controlled as every scene in "Close" is, it feels, in a way, calculated and almost cruel.

Cora Bora, written by Rhianon Jones and directed by Hannah Pearl Utt, is designed to showcase Stalter's signature brand of absurd irony.

Ravager does have an internal logic that makes its time and subplot-jumping story easy to follow. But this new Phantasm will not be of interest to anyone who doesn't already know who the Tall Man is, or why he needs to be stopped.

Remember this name: Aksel Hennie. If Pioneer, a mixed bag of a conspiracy thriller, works at all, it largely does so because of him. Hennie, now into his second decade as an actor in Norwegian film (he’s also written and directed a feature) gives a spectacular performance as Petter.

No One Gets Out Alive builds its suspense through scares both real and supernatural. While I’m less satisfied with its ultimate execution, Jon Croker and Fernanda Coppel's script has a lot going in its favor.

Does not quite make the grade. For every great joke, hilarious anecdote, and keen insight, there are cringe-worthy dramatizations, narrative groaners.

[A] well-intentioned but only partly satisfying film.

Though the story that Lee reconstructs in Yellow Door: '90s Lo-fi Film Club is fascinating, it's given a limited visual presentation here, often using talking head-style interviews of the various members of the group.

Pearl gets a little too close to letting you simply laugh at her. We know she wouldn’t like that.

In fairness, Maron doesn’t provide Feinartz with the raw material to make the kind of movie it seems he wanted to make. We get the feeling that, over the course of participating in the project, Maron realized that he and the filmmaker were not an ideal match.