Sadly, the film crashes when it decides to offer some sane explanations and connect dots that didn’t really need to be connected. There’s a much stronger version of “Old” that ends more ambiguously, allowing viewers to leave the theatre playing around with themes instead of unpacking exactly what was going on.

Between the eye-catching period details and the warmth of the performances, you want to wrap your arms around “The Supremes at Earl's All-You-Can-Eat.” But this is a film that seems intent on pushing you away through its ludicrous plotting.

An unbearably preachy post-financial-crisis civics lesson in heist movie drag.

The Garden Left Behind works best as a message movie, not for the community it’s set in but for everyone else.

The filmmakers fall over themselves trying to respect Man's outlook on life, and this makes their subject seem more like a hyper-disciplined saint than a world-reknowned, ass-kicking hermit.

The proceedings are not entirely unamusing in their lurid way, but they’re also not nearly as clever as the filmmakers believed or hoped they would be.

From a filmmaking standpoint, Life’s a Breeze is something of a jumble. There’s a whimsical score that sounds like a Mumford & Sons bridge on repeat that underlines the quirky tone in rather annoying ways.

Ultimately, the film registers less as an indictment of widespread financial corruption than as a shallow exploration of one man’s greed. But briefly, when it’s at its peak value somewhere in the middle, Money Monster is a solid bet.

If nothing else, Danny Boyle's Yesterday, which imagines a world where the Beatles never happened, made me think about what would it be like to hear "Yesterday" for the first time, what life would be like if the Beatles didn't exist. The film, scripted by Richard Curtis, explores some of the implications of its premise, but, frustratingly, skips over others.

Bay’s latest, Ambulance, is a thick, juicy, hilariously overwrought, gloriously stupid steak upon which the vulgar auteurists of the world can feast.

There's nothing specific, thoughtful or emotionally involving about Election Night beyond a basic need to push buttons, and get a rise out of viewers. The good guys are actually bad, and the bad guys are too indistinct to be hateful. Vote with your wallets, and go see something else.

JFK Revisited: Through the Looking Glass is an exhaustive and sometimes exhausting documentary, a film that can sometimes feel like it’s so packed with information and detail that Stone has lost the path through this dense forest of conspiracy theories. At its best, it reminds one how tightly Stone can assemble a film like this one as he makes a convincing case that some things about the assassination of JFK don’t add up.

Primed to be this June’s Horror Movie of the Month, The Boogeyman is packed with familiar beats and little personality, the horror equivalent of a rising music star making a fan-friendly Christmas album as their biggest project yet.

This might have been a better movie if its creators embraced their fitful bloodthirst. Instead, they seem to hope that you like these stock characters enough that you’ll gasp when their friends and enemies inevitably bite the dust. A machine to kill vague people, “Whistle” never delivers on its frightful promise.

The exceptionally talented Richardson does her best with a woefully underwritten character.

Wendy is a repetitive, shallow film, a children’s fable that means way more to the child who dreamed it up than it will to you.

The Thicket may enthrall those Tubi watchers looking for an icy, gunslinging thriller that wears its savagery and mercilessness with ghoulish, gruesome pride (the same folks who dig those DIY hood movies might get a kick of this). But the unlimited amount of Sturm and Drang on display will turn away those looking for a fun, engaging shoot-’em-up–like readers of the guy who wrote the book this bad ol’ time is based on.

Nearly four years into the Taliban’s rule of Afghanistan, this story, now more than ever, needs the attention and awareness of an international audience. One only wishes for a deeper telling of it; maybe with at least one less Black Eyed Peas song.

A well-observed and patiently told story, with one good scene after another, featuring amazing performances across the board, but particularly from newcomer Josh Wiggins.

Barnes & Heigl take their characters the distance provided them by the story, which is not very far.

A Lot of Nothing takes a fraction of a stance on how Black people are socially caricatured and systemically discriminated against. So when the film reaches its big reveal and the discussion of it, it spins any assumption of intention into obscurity.

It’s raw and often powerful—less of a carefully shaped drama than the equivalent of a series of boxes filled with explosive material being slung about.

The isolation of the setting, the elliptical dialogue, the inserts of apparently archival anthropological images, and a spare score, sometimes just one sustained note, all give “Hot Milk” a dreamlike quality, the kind of dreams that, at least while we’re dreaming, make more sense than reality.

You've seen all this before, and many times. 2 Guns works because it's essentially several riffs on familiar material. Cliché is not a bad thing if it's done right.

Such a muddle right off the bat.

That the stars of the show are none other than the esteemed Richard Griffiths and Richard E. Grant in invaluable cameo roles and that they end up provoking some of the biggest laughs of the movie demonstrates why Curtis is a comedy genius.

A film so purely entertaining that you almost forget how scary it is. With all its terror, The Visit is an extremely funny film.

Megalopolis is a film drenched in its science fiction and classical influences, captured with insane filmmaking choices that often place shallow performances against a backdrop of deep cinematic flourish.