Burman's film languishes on the chaos of the events, and it can never be accused of not having some ideas about fatherhood and legacy. But the humor of this rambling film runs dry to the point of unpalatable.

The kind of childish genre movie that gives genre movies a bad reputation.

It’s in this unique setting, a place that inherently feels like purgatory for those stuck there, that Cogitore crafts a tense tale of faith and mystery.

Five Nights in Maine is as evasive as a corrupt politician. Its coyness about what’s truly in its heart of darkness is either cowardly or lazy, or some measure of both.

One thing that’s notable about Front Cover — and that sets it apart from Ang Lee’s nominally similar “The Wedding Banquet” — is that, though set in New York, its perspective and espoused values are finally more Chinese than American.

While not an earth-shaker, this movie is an amiable and informative look at a guy who is shaping up to be, yes, one of the major American directors of the last fifty years.

Olympic Pride, American Prejudice tackles its subject in a straightforward manner freed from dramatic license and the fear of box office failure.

Sun Choke is, after all, a melodrama, so you have to believe in Hagan's character. All of the impressionistic cinematography and special effects in the world couldn't save the film if you didn't care enough about Hagan's performance.

Little Men doesn't reach the humanist tragedy of "Love Is Strange," but that's an unfair comparison since very few films achieve what "Love Is Strange" does. Little Men is extremely powerful in its own right, with its devotion to its characters' differing perspectives so refreshing in an increasingly black-and-white world.

It is a cinematic crime that the abrasive garbage that is “The Angry Birds Movie” and “Ice Age: Collision Course” get national releases while most people don’t even know The Little Prince is coming to win their hearts this weekend.

With a few, rare exceptions, the attempts at humor in “Suicide Squad” land with a thud—that is, if you can hear such a sound over the deafening din of gunfire and the bombastic score.

The film will play well among standup comics who feel they've been muzzled by humorless slogan-spouting liberals, bluenoses and the generally squeamish.

One of the greatest science and moral fiction movies ever made.

The Land won’t win any awards for originality of premise. And the movie, after that premise comes into play, tends to meander more than a suspense story ought to. It meanders for the best reason, though, which is to help the viewer get to know the characters.

If the film is a touch more emotionally muted than one would expect, that is because Jones spends the vast majority of the film holding it together.

Tallulah is an impressive debut from Heder, who also works as a writer on Netlfix’s “Orange Is the New Black” (Uzo Aduba, who plays Crazy Eyes on the series, has a part as a child services agent with a lot of perspective).

Good intentions do count even if the outcome is not perfect.

The one major problem with Into the Forest, the one that keeps it from making that final leap of good movie to a potentially great one, is that the final third is just not quite as strong as the stuff that precedes it.

Schamus’ commitment to a style, and to the material, yields potent results.

This is a tearjerker of a film but also a joyous one.

When it’s over, even viewers more eager to forgive this failed creative reunion will wonder what it is that they just watched, and what purpose it serves other than financial. And why no one figured out a new, engaging way to tell a story that’s already been told.

For the film to be about more than just wildly outrageous behavior (although those moments are the one that provoke the biggest and well-earned laughs), these have to feel like real people and we have to care about them too. And we do, thanks to a strong cast of comic actresses who have an easy chemistry with each other.

Nerve wants to be a cautionary tale about the perils of desiring fame through social media, but it isn’t willing to go to the darker depths this material requires. It opts to stay on a more superficial and very goofy level, and while that has its enjoyable charms, it pretty much negates the film’s message.

Whatever other filmmakers may have had an impact on Riccobono, the film’s indelible depiction of current Native life is an achievement that belongs to him alone.

Branciforte's writing lacks the nuance to take its absurd concept seriously, so it awkwardly injects comedy.

Sorvino is great in the small role of Clark's tear-stained, checked-out mother.

Regardless of their ultimate fate, the existence of Ye Haiyan and every soul she has ever sought to protect are undeniable, and thanks to filmmakers like Wang, immortal.

It's more fulfilling to the soul than appetite, but the indulgence — if not the brief escape — is an inestimable perk.