A horror movie, a creepy and atmospheric and sometimes blood-soaked horror movie, and it’s got a good amount going for it.

Just another unimaginative rip-off.

Swanberg finds a pleasingly low-key tone throughout the film, which (blissfully) is especially true during the kinds of moments that usually are played for wacky laughs in pregnancy comedies.

An actor has to just have it and Omar Sy has it. One needs only to watch his performance in Samba to see Sy's old-school natural star power in its purest form.

When one considers how good this material might have been if placed in the right hands, to see it squandered this way makes it almost more painful to view than the typical Sandler stinker.

A film this satisfying on every level — one that can be enjoyed purely for its narrative while also providing material for hours of discussion on its themes — is truly rare.

As gorgeous and impenetrable as a dream.

The smart script is brave enough to venture beyond yesterday’s fleeting Twitter fodder for its pop-cultural references. As a result, Paper Towns might be the only movie to ever pay tribute to Walt Whitman’s poetry, Woody Guthrie’s music and the empowering theme song from the “Pokemon” cartoon series.

Southpaw enters the long filmography of boxing flicks, and puts up a surprisingly good fight.

Bad movies are common. Shockingly bad movies, ones that are so incompetently conceived and executed as to force one to question how they got made, are less so, despite what Angry Film Twitter might have you believe. Safelight is a jaw-droppingly bad movie, a film that doesn’t have characters or a plot.

Oppressively bleak mood piece Alléluia is a horror film for people who like to be scared by a grim, joyless and thoroughly depressing character study.

The film itself falls short on two crucial levels: it’s neither sufficiently profound nor intoxicating enough to justify or transcend its self-seriousness. As good-looking as the movie and its stars are, Ardor, whose title refers to a literal state of burning, never manages to catch fire.

While Lila & Eve is not supposed to be funny — indeed, the central topic is about as unfunny as one could possibly imagine — but nevertheless inspires huge laughs, albeit of the unintentional kind, thanks an idiotic screenplay and a supposedly "shocking" plot twist that even the most inattentive viewers should be able to figure out within the first fifteen minutes or so, tops.

A Hard Day has a breakneck pace that allows one to easily dismiss the more ridiculous, downright nonsensical aspects of its plot. Only occasionally will the eyes roll. For the most part, it works.

Unfortunately, The Stanford Prison Experiment is a dramatization, and no matter how much it may adhere to the well-documented specifics of Zimbardo’s work, it is a massive failure.

Post-Holocaust discourse frequently used the phrase “Never Again” as a slogan, specifically referring to persecution of the Jews but also denoting a prohibition against barbarism; the events under consideration in these films are dispiriting reminders that human progress in this area has been meager at best.

It is not merely a bad film. It is a collection of notes for a film that never quite evolved to the rough draft stage, much less cohered into a finished movie. That makes it more dispiriting than other notorious Woody Allen misfires.

The case itself ultimately proves less an involving puzzle for the audience than a lesson for Holmes in humility.

As Aaron’s star patient and best friend, LeBron James is kind of wonderful playing a version of himself who’s sensitive, analytical and strangely stingy. It’s an inspired casting choice.

Indian filmmaker Chaitanya Tamhane’s first feature is a masterpiece, one of the best films of the year.

It’s delightful and almost miraculous the way this movie manages to work as a comic heist picture on a huge scale, and with a comic science-fiction picture blended into it…while managing to cohere to the whole, you know, Marvel thing.

There are signs of clichéd filmmaking from the beginning in the flat close-ups and over-used score, but the performances carry Suicide Theory for a surprisingly long time.

The plot of Mad Women is ridiculous, unmotivated and "shocking," but that wouldn't be an issue at all if there had been some attempt at style, or mood, or a point of view.

The unique working relationship between Dirk Nowitzki and Holger Geschwindner is itself of sufficient interest to make the entire thing worthwhile, and implies that Geschwindner would make a compelling protagonist of his own film.

Despite that emotional distance, the film is carried by young actress Lea van Acken, forced to really emotionally deliver given the lack of camera tricks some actors use as a crutch.

Nothing will break your heart as much as watching this man, desperate to keep this woman in his life, waltzing around the room with a laptop in his arms while staring into her faraway eyes.

Williams and director Dito Montiel are in tune with a pervading sense of tenderness, as the movie distinctly ruminates on connection, not love.

What it does explore makes it a satisfying, lighthearted look at one man’s search for perceived vocal machismo.