Written and directed by Giovanni Tortorici, “Diciannove,” which means “nineteen” in Italian, plumbs the depths of young adulthood in that strange transition year, from the dizzying highs of feeling invincible on the dance floor to realizing just how much about the world you still have to learn.

Some of Unwelcome is legitimately creepy and upsetting. Some of it is hilarious. Whether or not the hilarity is intended is unclear.

It's not a great or even particularly distinctive movie, but it's heartfelt and plain-spoken enough that it might connect with viewers whose families have dealt with addiction and recovery, domestic abuse, financial deprivation, and other problems highlighted in the story. Advertisement

Raboy manages to pull off several galvanic cinematic effects even as his scenario yields little more than exasperation. There’s enough raw talent on display here that I’m looking forward to his next picture nevertheless.

Twohy's script contains macho dialogue so ripe it's embarrassing to hear it.

The director carries out his ultimately banal aims with commendable dispatch, and it’s always interesting to see Moreno play a character who’s not a living saint.

The entire thing—as written by Gavin Steckler and directed by Marc Turteltaub—is sensitive, intelligent, sweet, and presented with considerable integrity, right down to the direction, which is scrupulous in now showing anything that doesn't actually need to be seen. But it also seems to be battling and sometimes succumbing to a case of TIFC, The Indie Film Cutes.

Dialogue does most of the heavy-lifting here, just like in “Love”, the first and most recently released entry of Haugerud’s thematically related series. Haugerud’s knack for visual storytelling also makes a difference, specifically in how he presents the city of Oslo and its features as an enriching backdrop.

While it's unlikely that this film will take up too much time in any future Lifetime Achievement Award clip reels, Dreamland is a testament to the importance of sheer star power to help carry even haphazard material along, at least up to a point.

Having such a small number of characters, like the limitations caused by budgetary constraints, might sound like a recipe for creative claustrophobia, but Gentry turns these givens to his advantage, almost as if using Synchronicity to articulate a less-is-more filmmaking philosophy.

When Johnson is doing that movie action star thing he does so well and giant animals are going enormous-mano-a-enormous-mano, there’s undeniably goofy fun to be had. You just have to be patient during the downtime.

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.

As a small amusement, “Chicken for Linda!” is an enjoyable enough lark. But its flightless emotional course leaves its profundity just out of range.

Dope alternates between being shockingly tone-deaf and surprisingly on-point.

While some creepy and unsettling events are in the film, none truly rise to a level most would recognize as horror. There are a few minor jump scares, but this film lives in its own realm.

Ultimately, Winnie is a woman who seems to embody the paradoxes of her country's turbulent history.

Despite its rough edges, Fisher Stevens’ Palmer is a gentle drama. It doesn’t go as deep into Palmer’s emotions or mindset, but instead keeps them closely guarded in Timberlake’s gruff performance.

You Won’t Be Alone announces the arrival of a fierce new genre talent, an inventive stylist and an unapologetic interrogator of mankind with something worthwhile to say.

Though curiously charming, Jumbo behaves like love at first sight that doesn’t think about the consequences of the ardent now or the larger, long-term picture.

Chinese blockbuster Monster Hunt is a sappy, crowd-pleasing, tonally wonky fantasy-adventure/comedy that pits dorky-looking monsters against over-acting cornball comedians/monster-hunters.

The heist movie has a long pedigree, and while Finding Steve McQueen is no "Le Cercle Rouge" or "Rififi" (or even "Reservoir Dogs"), Johnson keeps the tone light, vivacious, almost slapstick at times. This is a smart choice.

Watching Queenpins is like eating grocery store birthday cake. It is very pleasurable in the moment but likely to leave you feeling empty and a little queasy.

The Hong Kong Triad mob thriller The White Storm 2: Drug Lords is a cynic’s delight, though often not in the ways you might expect. As a message movie, The White Storm 2 is pretty toothless.

The entire thing has a whiff of missed opportunity, and sometimes you might wonder if Lowery and his co-writer Toby Halbrooks wanted to dive deeper than they knew Disney's copyright-tending, merchandise-selling executives would have allowed.

While Gondry calms his creative instincts to toy with the ordinary, he indirectly errs on making Microbe and Gasoline his first forgettable film.

Son of Monarchs, which is driven by mood as much as it is a metaphor that it can’t get enough of, embodies the equal ambition and shortcomings of a writer/director trying feel their way through science, while having as minimal a narrative as possible.

The ways in which the pigeons work wonders as a flock — to the point of becoming playfully weaponized in the name of good — is consistently inspired.

Once Carrey’s frenetic performances kick into gear, he gets to take this movie to incredibly strange places, ensuring that it will probably work for the adults in the audience as well as the little kids who dragged them there.