Anna was written and directed by Besson himself and it still feels like a misfired rehash of his greatest hits.

This Child’s Play is nastier, more playful, and just as good if not better than the original film.

Like her brilliant 2012 debut feature, “Elena,” which recounted the “inconsolable memory” of Costa’s older sister prior to her suicide, the director’s latest work, The Edge of Democracy, is haunted by loss.

This franchise has demonstrated an impressive ability to beat the odds and reinvent itself, over a span of time long enough for two generations to grow up in. It's a toy store of ideas, with new wonders in every aisle.

While Stuber’s film acknowledges the soul-sucking nature of these colorless environs — at times, the enormous yet empty aisles resemble a ripe setting of an after-hours zombie apocalypse — the filmmaker loves his characters so much that he can’t help but prioritize their humanity that rises above the surface of it all.

At any rate, Keaton and Gleeson are mostly a pleasure to watch as they enact the Inevitable Stations of the Romantic Dramedy, which include the mandatory misunderstanding that leads to breakup before inevitable reconciliation.

The weddings themselves are a hoot, shrewdly observed, witty, but genuine.

The setup (script by Glen Lakin) is full of wacko screwball potential, some of which is mined, some of which misses the boat.

Our Time is even funny sometimes, albeit in the same kind of wryly mordant and cosmically alienated way as Stanley Kubrick’s “Eyes Wide Shut.”

With competent but unspectacular direction from Kyle Newacheck (“Game Over, Man!”) and an entertaining supporting cast, Murder Mystery does just enough to keep audiences engaged until its goofy mystery is solved.

Miller owns the material and single-handedly elevates it to something you can’t look away from, while reminding us the effortless appeal she brought into even her relatively thankless part in “American Sniper.”

The Dead Don't Die is far from Jarmusch's best, but there's something to be said for its zonked-out acceptance of extinction.

The plot is completely forgettable and Story’s direction is atrocious here. He can’t balance the numerous attempts at unfunny comedy with the sudden outbursts of extreme gunplay. The action sequences lack any sense of excitement and only once do the stars of comedy and action align.

Many fans wished to see these two actors trade witty barbs once again, but the pair’s new movie, Men in Black: International, strips away just about everything fun from the duo except their on-screen presence.

Rolling Thunder Revue: A Bob Dylan Story is one of the most frustrating Martin Scorsese films as well as one of the most out-of-character.

16 Shots feels like an impassioned, intelligent document of a major moment in the history of Chicago.

Papi Chulo is a buddy comedy, but only by its ramshackle design — it’s a forced friendship, and it’s not cute, let alone funny.

Even the slow-motion crumbling of the love triangle between the mentor, his wife and his mentee isn’t that thrilling. Leto had the potential to be so much more lively—this is rock ‘n’ roll in the Soviet Union we’re talking about—that its stylish malaise feels much more disappointing.

Funan is structured as a series of carefully choreographed set pieces in which things go from bad to worse to unimaginably awful.

One of the main pleasures of watching The Raft, a new documentary that combines decades-old footage of the Acali's 101-day voyage with modern-day commentary by the ship's six surviving crew mates, is that the Acali's story isn't just told from Genoves's self-mythologizing perspective.

It is true that no movie can tell the full story of a man’s life. But movies like this one can tell us something important about our own.

Frustrating but engrossing, and impossible to critique in-depth without spoilers because it's driven by regular plot twists, I Am Mother adds another memorable creation to an already packed gallery of intelligent science fiction robots that are as complex as most humans.

Late Night comes directly from Kaling's own experiences. This is an earnest and funny comedy, with very sharp teeth.

Ron Howard’s documentary doesn’t just make you miss the singer. It makes you miss, of all things, a robust music industry.

It is a joyless, lifeless, boring affair that repeats ideas from better X-films and feels more like an obligatory reunion cash grab than a deeply considered goodbye to iconic characters.

Jimmie’s story is a slow ballad, a tragic ode, a dirty limerick, a wistful lament and a heartbreaking elegy. It’s a tribute to the notion of home that we all carry. This is one of the year’s best films.

This is an impressive piece of work that deploys low-budget filmmaking techniques with cleverness.

The Secret Life of Pets 2 proves the old adage that you can go to the well — or in this case, the dog bowl — one time too many. And that’s saying something, given that this is only the second film in the series.