Headey is coolly fierce and shares some powerful moments with both Wilson and Winstone as the reporter who threatens to expose this juicy sex scandal. But these scattered pieces don’t create a complete and convincing picture.

The film is, in that sense, the ultimate fan film since it monotonously aggregates previously existing scifi/fantasy tropes. Rejoice, Gen X viewers, for now you can uncritically enjoy your childhood's junk food culture just because you're looking at the past through the rose-colored lenses of the future.

A domestic comedy-drama that starts off from a fairly pat premise but builds strength over the course of its careful, empathetic, and crafty unpeeling of its characters.

Worse, Z for Zachariah is ultimately too dramatically slight and brief for its ambitions, despite its sometimes labored myth-making script and visuals.

I Touched All Your Stuff is an attempt to make us feel that sting of disappointment. In a way, it's effective. The movie is disappointing.

While I might actually go out and buy the soundtrack album, the last thing I’m gonna say about the movie is friends shouldn’t let friends pay money to see We Are Your Friends.

Queen of Earth is terrifying because it is so emotionally unmoored—Catherine is a character with little reason to care about anything or anyone, and Perry and Moss convey the danger of that brilliantly.

Films don't get much dreggier than No Escape, a dreadful and creepily exploitative would-be thriller, low-grade trash that it is too silly and stupid to be as offensive as it frequently comes close to being throughout.

When Magary’s dialogue gets a bit too theatrical and self-conscious in the final act, you notice just because of how strong it’s been for the previous 80 minutes.

Alternately idiotic and boring horror thriller.

The movie is certainly colorful — this is a guy who, when he had it made, lived VERY large, even if he continued on what seemed like a quest to break every bone in his body multiple times. And it tells, as it keeps reminding us, a very American story. For all that, though, it doesn’t illuminate the guy’s character beyond what’s obvious.

Too many times the characters in this movie sprint across the line separating quirky charm from know-somethingish affectation, and then stay on the wrong side of it.

This is the rare film written, directed and edited by women.

Digging for Fire wants to talk about serious topics and it wants to do so in a humorous light-hearted way. It succeeds.

A modestly scaled character comedy-drama that winds up exerting an almost shockingly strong emotional force by the end.

There is one highly genuine scene that feels as if it could be an outtake from “The Grand Budapest Hotel“ that nicely underlines Birkenstock’s theme of the ephemeral nature of art when it comes authenticity and originality.

American Ultra tries to combine a sweet, slacker romance with a slick, super-violent action flick. If that sounds jarring to you, that’s probably because it is.

Hitman: Agent 47 is aggressively awful, the kind of film that rubs its lackadaisical screenwriting, dull filmmaking and boring characters in your face, almost daring you to ask the theater operator for your money back.

Sinister 2 may be ambitious, but its best ideas are, as they're expressed, dumb, unmoving, and repetitive.

Whether or not we’d like to admit it – they’re willing to say what the rest of us are thinking when they tactlessly open their mouths without a filter.

A strong, creative addition to the crowded coming-of-age genre.

Viewers are not privileged with a more thoughtful, specific view of the institutionalized problems that Sudanese natives face because Sauper's not interested in making that kind of film.

Dreck of the lowest kind — a sleazy exploitation film that is all the worse because it has somehow convinced itself that it is thoughtful and profound.

Much like “Self/Less,” Amnesiac feels like a director-for-hire gig for an artist too talented for the job.

Never feels as momentous or as angsty as a good story about moody teenagers should, and that's mostly because the film lacks a menacing parental adversary.

It’s a story that speaks for itself, and so the emphasis on talking heads explaining it to us is dispiriting.

Strains to be a psychological thriller but its length (102 minutes) dissipates the tension that should be taut and compressed.

People Places Things treats its characters a lot messier than most romantic comedies, which makes it delightful at times. It also makes it disappointing when the film falls into the same traps that plague romantic comedies.