An uncommonly promising debut.

The most purely entertaining zombie film in some time.

So spot-on in its evocation of that whole "scene," onstage and off — its intimacy, competition, struggles and rhythms — that at times it feels like a documentary.

Lights Out has been made with a certain degree of style—enough to make you want to see what Sandberg might be capable of with a better screenplay—and it does contain one great moment that pays sly homage to the most famous moment from the classic thriller “Wait Until Dark.”

The movie never delivers on its considerable promise because it's always in such a hurry to get to the next action scene.

Don’t be distracted by the eye-pleasing purple and lavender hues that have been added to the typically chilly color palette. This plot is as disjointed as it sounds.

The meta-oddity of For the Plasma is certainly not for everyone, but it’s such a charmingly strange film, a movie that feels devoid of the cynicism that often plagues every genre from which it cribs, but particularly modern sci-fi and low-budget cinema. It is a movie that is happily strange, joyfully bizarre and particularly unforgettable.

Little more than an extended version of the kind of political screeds that can be found online with only a minimum of effort, this is just a terrible movie.

The acting starts off capable even if it reflects the same lifelessness of the film itself, but as the story continues the performances only magnify script issues that become unbearable.

Equals goes for the Vulcan solution, and while the movie feels a bit thin and padded as a feature, it believes in itself completely, and there are moments when the sincerity of the lead actors and the director's addiction to the narcotics of Kristen Stewart's eyes, lips, neck and hands puts the whole concept over the top.

A movie hopped up on the period piece sadism within Tarantino’s regurgitation cinema, Outlaws & Angels gravely mistakes Tarantino’s audaciousness for its own originality.

The film can be smothered by the obligations of its plot, but it's still beautiful and original, extremely funny, and sometimes very moving.

It’s the filmmaking around the writing that casts a particular spell.

The same weakness that has plagued a goodly portion of major releases this year that rely on past successes for their reason to exist rears up again: the lack of the new and fresh.

The film as a whole just never quite overcomes the inherent familiarity of its premise to become its own unique thing. Those looking for a story equal to Cranston’s contributions to it are liable to come away from it feeling slightly disappointed.

A more accurate title for the low-budget indie Civil War drama would be, “Man (Sing.) Goes to Battle. Eventually. Sort of. For a While. Then Leaves. Other Man Stays Home.” But to avoid that marquee-buster, here’s the concise version: “Mumblecore Civil War.”

The movie is shamelessly manipulative on several levels, and the cast members do their respective bits effectively.

Pair Fathers and Daughters with a bottle of wine and a friend on a rainy night, and it will work just fine.

With a bigger budget and a longer runtime, Cell could easily have been elevated above its current station as a worthy 2 AM viewing on cable — not that there’s anything wrong with that. It’s cursed with some really cheap CGI, but blessed with actors who are game for, and respect, the material.

Meerpool’s movie is scary without being alarmist.

I can't think of another recent domestic drama that is simultaneously so optimistic and so melancholic.

Captain Fantastic treats the situation (and Ben) so uncritically and so sympathetically that there is a total disconnect between what is actually onscreen and what Ross thinks is onscreen.

While the film works as a primer for viewers who are curious about Lear but don’t know the details of his life and work, it’s more interesting as a movie about age and memory.

Easily the most important film anyone has released this year, it is a documentary that deserves to be seen by every sentient citizen of this country – and indeed the world.

Owing some of its charms to other sex comedies from that decade, this Sundance 2016 title (now playing on Netflix) proves to be more layered than its promises of shenanigans may expect, especially as this is the rare sex comedy that doesn’t glorify the male gaze.

Confuses repetitive raunchiness with daring humor. It hammers us over the head with the same handful of jokes in the hopes of beating us into submission. And it strains the screen appeal of a group of actors who normally are enormously likable.

The disposable, summer diversion that many families will be looking for as temperatures rise and the start of school seems so far away, but most won’t be able to remember after they see it.

Although unintentionally funny throughout, its evocation of life in a totalitarian society is ultimately chilling. The happy picture the North Koreans struggle to present implies unfathomable depths of violence to the human spirit beneath its glossy surface.