Night Patrol is far from perfect, but it’s got a certain something that pulls you in. The bleakness of its worldview is matched by the integrity of its filmmaking and performances. The life it depicts is not sugarcoated. It’s drenched in blood.

Greenfield wraps up this compulsively watchable movie with observations of family love and some of its characters striving for redemption and/or an honest living. But she doesn’t quite dissolve the bitterness of the pill. Because it really can’t be.

The biggest difference between the two films is that "Unfriended" is dynamic and cruel while Unfriended: Dark Web is unbelievably stupid and sadistic. Neither movie is especially smart or incisive about the Way We Live Now, but they don't really have to be.

With her debut feature, Bang Gang, Eva Husson captures the restless rhythms of adolescence—the push-pull of angst and boredom, of self-consciousness and the yearning to lose oneself completely.

If only the half-baked story could also meet our expectations, or at least match the logic of the previous two “Annabelle” films.

Worse still: because The Emperor's New Clothes is often beholden to the whims of Brand (star of "Get Him to the Greek," and that tedious "Arthur" remake nobody saw), it too often feels like "Button-Pushing Encounters with Russell Brand."

Here is a movie that wants to traffic in Coen Brothers-style nihilism yet lacks any of their storytelling skill.

The YouTube Effect is a chronicle of extremely recent history and doesn't cover much new ground. If you follow YouTube, big tech, or any controversies surrounding social media, you will be familiar with everything here.

The Mauritanian fails to humanize the story it’s telling, never coming off as something more challenging or interesting than a superficial, manipulative accounting of true events.

An absorbing coming-of-age drama that suddenly, pointlessly self-destructs with an onslaught of cheap ironies and overkill.

Ray and his co-stars’ easy chemistry makes you want to hang out with Will, if only to see where the plot twist takes him. “Destroy All Neighbors” wouldn’t really work without that essential playfulness; the fact that it works at all suggests that Ms. Lee and her team are the movie’s real MVPs.

It is sweet without being sugary, colorful, and very charming, with terrific voice talent and a lot of music. It’s the best of the three.

It’s a dancing elephant of a movie. It has a few decent moves, but you’d never call it light on its feet.

Although immensely entertaining, Theodore Melfi’s screenplay has some unexplained potholes here and there which will have audiences scratching their heads from time to time. Regardless, it’s clear that director Paul Dektor’s empathy and heart dwell in the right place for a story ultimately asking the questions of what one needs to be happy, how far we are willing to go to achieve it, and what role does loneliness play in these life-altering decisions?

The performances are better than the material deserves—particularly those of De la Reguera and Huerta, whose reactive closeups have a silent-movie expressiveness; and Lucas, who once again proves that he's willing to play deeply unlikable characters without signaling to the audience that he's a nice guy offscreen, actually.

Emancipation becomes an exhaustive, vicious, and stylistically overcooked recounting of a man whose very visage led the abolitionist charge. Emancipation is a hollow piece of genre filmmaking that rarely answers, "Why this story and why now?"

The film proves to be more shallow than its edgy premise and subsequent themes promise.

Winkler, and featuring three very strong central performances and eye-catching poetic visuals, Jungleland is more of a mood-piece than anything else, and on that level it works beautifully. The mood is strange, sad, and hypnotic.

Cho finally delivers in these scenes, twisting and turning his plot, while also giving us the car chases and gunfire we’ve been waiting for. The only question is if you’ll still be awake by the time he gets there.

Whatever promise the “V/H/S” horror anthology franchise started with is barely present in V/H/S/85, a low-energy potboiler that promises to transport genre fans back to the analog past for some reason.

As a Neil Young fan who has cheerfully followed him throughout all the highways and byways of his singular career, I have always found him to be one of the most vital and fascinating voices in contemporary music, even at his weirdest. Sadly, the only thing that “Coastal” manages to accomplish is something that I would have usually thought impossible—it makes him come across as a bore.

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.

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.

Britt-Marie Was Here is based on a novel by Fredrik Backman (A Man Called Ove), whose themes often include cranky people who isolate themselves and community sports that bring people together. Thankfully, he and director Tuva Novotny keep the characters astringent and his tone wry, so it never gets cuddly or cloying.

Although the relationship at the heart of We Broke Up may be messy and complicated, Rosenberg ties all of the story’s elements together into a neat, bittersweet package.

Even as We Have a Ghost sags in places, it never completely fades into the dull background of Netflix originals of late. We may not have an outright winner, but we do have a decent diversion.

Children new to the story will enjoy some gross-out humor, slapstick naughtiness, and the reassuring theme that families of all kinds, including those we choose, can be devoted to the idea of ohana.

She Came to Me is beautifully performed and directed with great charm, unexpected wisdom, and sweetness.