Kung Fu Yoga doesn't feel like a young man's film. Normally that would be a cause for celebration, but in this case, Chan's latest doesn't just address, but rather shows his age.

Somehow what comes close to dissolving into heartbreaking tragedy instead offers the merest whiff of hope for the future. As Neill’s seen-it-all Walter says when all hell begins to break loose, “Everyone’s got a story like this … it’s as old as the hills.” If only said tale were told with a bit more consistency.

Paris 05:59,’s charms are likely slight enough, and its raunch raunchy enough, to keep it from becoming one of those rare exceptions.

This film, directed by Zhao Liang (acclaimed here for his 2009 “Petition”) is a kind of poetic documentary. It’s all images and sounds, no interviews, no talking heads.

Kelly is finding his sea-legs as a director. Kelly spends equal amounts of time with Michael's pre-conversion life as he does post-conversion. The conversion itself is pretty well done, all things considered.

Some descriptions of The Salesman call it a thriller, suggesting a Hollywood-style suspense film. It’s not. It’s a psychological and moral drama.

The tonal weirdness and the philosophical fallacies and the general level of treacle did not sit very well with me. Then again, I have to admit I’m really more of a cat person.

Like most films of its type, “The Final Chapter” is utterly ridiculous in every possible way but unlike a lot of them (I am looking at you, “Underworld”), it at least has a healthy sense of its own absurd nature that comes as a blessed relief. And a couple of the action bits are gloriously goofy to behold.

The character is so one-note, always tying everything back to his need to redeem himself and his dad and articulating so many of his concerns verbally rather than through his eyes or body, that after a while I wanted to put in earplugs to get a break from him.

Get Out feels fresh and sharp in a way that studio horror movies almost never do. It is both unsettling and hysterical, often in the same moment, and it is totally unafraid to call people on their racist bullshit.

There’s a considerable amount of catharsis in They Call Us Monsters, but it is bittersweet at best.

As a result of Lorius and his team discovering that they could accurately date every nuclear weapon test from radioactive material found in Antarctic ice, there was an international treaty banning such tests, with over 100 nations signing on to it.

Though many bad movies are simply depressing, Adam Smith’s Trespass Against Us is so exceptionally bad that it at least has this bright sidelight: Unless 2017 turns into a truly disastrous time for movies, it may be the worst of the year is already here.

One thing’s for sure: In Staying Vertical, every character has sex on the brain, all the time.

Remarkably pointless movie.

One of those rare animated movies that transports you to a different setting without demanding that you focus on narrative or character development.

Speaking strictly for myself, Vin Diesel, here coming back to play Xander Cage, the James Bond of skateboarding character he originated in 2002’s “XXX” is the least exciting component of this 3D slam-bang fest.

Split is more lean and taut in its narrative and pace than we’ve seen from Shyamalan lately.

It isn’t creepy, but it isn’t terribly plausible, either. It’s just another movie in which a 30ish white dude finds purpose and learns how to live life again through the love and support of a younger woman who’s more of a concept than a real person.

Had The Founder focused solely on Kroc’s relationship with the McDonald brothers, it might have been one of the great intimate, sour character studies of recent times.

"Bird on a Wire" is a time capsule of a specific period in Cohen's career. But it also neatly illustrates the singer's personality in an accessible and compelling way. It's that rare concert doc that isn't for established fans only.

These are all cartoon figures out of Frank Capra’s most feverish populist nightmares.

Did I mention this movie is a comedy? It is, and a very sure-footed one, although the style does take some getting used to.

Betsy Brandt gives a compelling performance as the title character whose spirit is slowly breaking, a woman of the arts faced with a painful and personal manifestation of ambiguity.

Ma is more about its visuals than anything else.

It’s a movie with effective scenes and character choices, they’re just not linked together in any way that makes them entertaining or emotionally resonant as a whole.

Speaking of the characters, they are as bland and uninteresting as can be.

Sleepless is one of those movies that needed to be a lot better or a lot worse to make much of an impression.