Is Wheeler filled with twangy clichés? Yes, but this attempt at pseudo cinema verite basically rests on Dorff’s slim, plaid-shirted shoulders—and dang if he doesn’t make this simple yet sincere saga hit more than a few high notes.

Hadžihalilović's latest is both too hazy to make a great adaptation and too focused to be genuinely dream-like.

A tidy and nasty and often effective thriller that doesn’t quite blossom into full horror.

Bonjour Tristesse works best as a sustained mood, as an evocation of long summer days that might not actually exist outside Eric Rohmer films and fashion magazine photo shoots.

It’s a well-made, purposefully ugly treatise of America as a broken-down theme park. But its charm wanes whenever it’s just not as funny, smart, or edgy as it thinks.

We cannot help wishing, as we do so often in watching what passes for news these days, that this story was told with more insight, context, and, well, focus.

The film tries to pack in a little bit too much in its running time, and there isn't a comedic moment until well into the film, a strange choice in a movie for kids, but The Wild Life has its moments of charm, hilarity, and slapstick that worked really well.

The documentary connects his present day work ethic to his past, and contrasts yesteryear’s heartbreaks to the large, family-filled parties he still enjoys. Jones did so much more than just unleash some of pop’s most successful records of all time.

It’s a worthwhile film that could have been a powerful film if it had gone beyond the skin-deep.

The star's Capone Voice is really something else, though — right up there with Hardy's Bane in "The Dark Knight Rises" and the title character of "Bronson" and the murderous trapper in "The Revenant" in goofy daring, as well as raw material for celebrity impressions that one might attempt while buzzed at a party. No matter how many times you hear it, it never seems to issue organically from the man on the screen.

While no one is going to mistake The Hitman’s Bodyguard for high art, it will please those in the mood for late-summer fun.

Curiously, there’s virtually no mention of religion in the film. For that matter, politics creep into the tale only obliquely, and later. It appears we’re meant to understand that the band’s music and Farah’s lyrics have an edge of protest, but this is registered only as a very general sort of frustration and discontent.

In the days since, I have found myself thinking about these characters at unexpected moments. Maybe the film, like its characters, just needs a little time to grow on you.

Apartment 7A seems afraid to stray too far from Mommy, justifying its existence through the sheer power of the great Julia Garner’s skill level, but leaving little else to recommend it.

Whoever advances to each respective next round, you want to root for these kids, and cherish the way they advocate for intellect at such a young age.

It’s nice to see that the first horror movie to specifically address our present hellish circumstances is as unpretentious and tidy as it is.

By preferring to keep viewers in suspense until the film's finale, Pastoll makes it harder to recommend a movie that has many good ideas, but no clue what to do with them.

Unfortunately, the film gets derailed by tonal inconsistencies and a clichéd plot that undermines the strength of its memorable outlier sections.

She was a true talent. And yet Maloof and Siskel’s film presents an interesting moral quandary along with its profile of an amazing photographer. When does creative ability and the desire to share a true artist’s eye trump what has to be considered an invasion of privacy?

Despite its minor flaws, "Irish Wish" is as pleasantly diverting as the kind of paperback romance novel Maddie edits for Paul, and just as forgettable.

Coppola's approach to the subject is largely impartial; depending on the viewer, this can seem refreshing or off-putting.

It’s not an unenjoyable ride, but there’s a lingering sense that it could have been made a bit more fun and campy along the way.

Kuras understands the unique position of the photographer as intrusive but unobtrusive, sensitive enough to see where the story is but removed enough to maintain observer status. However, as for more about who she was, Miller stays frustratingly out of focus.

It could be that Franco and Hudson, while not phoning it in, bring personae that are just too familiar/conventional to spark a high level of viewer involvement.

Although it attempts to tackle the heavy theme of generational trauma, it too often forgoes the more insightful aspects of its family drama in favor of an overly trite twilight romance.

This one is more forgettable than it could have been but also nowhere near the disaster that often comes when members of Lorne Michaels' troupe are allowed out during the day.

The best part may very well be an actual 1932 silent movie, filmed on Floreana, and shown in its entirety in "Galapagos Affair".

This is is the kind of movie that makes you appreciate Schwarztman's unique brand of screen energy, if you didn't already.