There’s not much to Porumboiu’s latest beyond a surplus of plot twists and double crosses.

Moss continues to deliver what we crave from woman characters: the kind of messy yet sturdy intricacy many of today’s thinly conceived you-go-girl female superheroes continue to lack.

You don’t get entirely skilled comedy from the Impractical Jokers, but you do get to see four guys who have turned forcefully messing with each other into a welcoming, idea.

There’s no question that Islamophobia is also on the rise around the globe, and this film — however inadvertently and well-intentioned — plays directly into it.

Yes, you’ve seen this type of story before, but Standing Up, Falling Down shows that there can still be a little magic—and charisma—when the material is genuinely funny.

Inert to such a degree that one wonders if the film has been slowed down, The Night Clerk doesn’t really go anywhere, truly disappointing for how much it wastes the talents of its young stars on a movie that doesn’t deserve them.

Despite the heartbreaking notes of its ending, this vibrant film makes you want to believe that things will somehow and magically turn out OK for her, simply because she deserves it.

Greed is never the sum of its best parts since other actors — especially Jamie Blackley, who, playing young McCreadie in a series of flashbacks, is fine but relatively disappointing — can’t pull off the movie’s delicate balance of broad humor and po-faced drama.

These amiable fellow don’t understand young Robbie’s ambitions — what’s with the rock ’n’ roll and all? — until they put it together and exclaim: “You want to be in SHOW BUSINESS.” For all the grand achievements chronicled here — and the music still sounds pretty great — this still is a show business venture.

You’d think we would be Emma-ed out by now. Not so. The new adaptation, starring Anya Taylor-Joy, and directed by Autumn de Wilde, is here, and it’s wonderful!

Should you surrender yourself to the film’s beautiful cinematography and whispered musings, you’ll find a breathtakingly gorgeous movie about love, death and immigration.

That they (the Dardennes) are able to discern this Christian concept even in the tale of a desperate fanatic of another faith is what makes Young Ahmed one of their most extraordinary masterpieces.

At times, Premature has the same fly-on-the-wall, near-improvisational and casually meandering qualities of a Cassavetes film, though its refreshingly honest and direct depiction of Black sexuality made me think of early Spike Lee or Bill Gunn.

It’s a film with alternating shots of Katie Holmes looking scared and the doll looking creepy. Rinse and repeat. And it becomes so tediously boring that your mind will wander.

The problem is less the technology, which is very impressive, than it is the uneven storyline, which zigzags from slapstick to poignance to action.

Ride Your Wave moves without a great sense of urgency, but only because Hinako’s emotional turmoil isn’t a great conflict or a tragedy. It is, however, as real as the private heartaches that we self-consciously wear on our sleeves.

Director Jan Komasa’s film — nominated this year for the international-feature Oscar — may feel a tad slow at times, but Bielenia is never less than totally compelling.

So yes, Fantasy Island is a terrible movie — this probably won’t come as a shock to most people — but more than that, it seems to have been made with absolutely no one in mind.

Come As You Are tells its story through empathy, compassion and what feels like winsome insider-y humor.

The minute Bill Cunningham starts talking in this charming documentary is the minute you fall in love with him.

The guerrilla-style approach is ambitious. The access is incredible. The film itself, however, is less so.

I Was at Home, But... creates a space where questions are asked, but rarely answered, where things are suggested and never underlined, and every element — camera placement, music, blocking, sound design — is so deliberate that it pulls you into its vortex, and it makes you submit to its severe rhythms.

There is nothing ordinary about Tom and Joan, and their story shows us that there is nothing ordinary about love.

Scherfig’s latest effort pursues something naively magical, only to end up with a mélange of miscalculated, cheap sentiments.

Through cinematographer Mark Schwartzbard’s lens, The Photograph feels like a gentle throwback to romantic movies that left their audiences in good spirits as they filed out of the theater.

With a screenplay by Brian Sacca, who grew up in the Buffalo area, Buffaloed is a showcase for the mega-talented Deutch, who tosses herself into the role like a maniacal fidget-spinner, all flash and charm.

It’s just funny, sweet, and smart — three things that this father of three doesn’t get to say often enough about entertainment while watching movies with his kids.

Sonic the Hedgehog is the worst kind of bad movie: it's too inoffensive to be hated and too wretched to be enjoyable.