Leatherface tries to show us what made the man we know the legend he is now. Sadly, the makers of Leatherface didn't put enough thought into a sleepy story that could easily be titled "I Was a Teenage Leatherface."

The visuals here are interesting because Adela is a circus clown and we get see a lot of the colorful life around her performances.

Jungle succeeds in communicating the young Israeli kid’s horrible situation, as well as the camaraderie between him and his new friends, but falls short when trying to visually explicate his mental state.

A movie that veers off the track of slow burn into turgid pacing a few too many times to be entirely effective.

One of the best documentaries of the year so far.

The movie makes canny use of non-linear editing, moving backwards and forwards with engaging fluidity, and it keeps this up throughout.

You’re going to Madea’s house to laugh, forget your troubles and perhaps get a good Christian message. To Perry’s credit, he does a far better job of folding that message into the film than usual.

One of Us is so strong as-is that its more harrowing sections — particularly Ari's account of his childhood suffering and the details of Rachel's fight for freedom — are so already hard to watch that you might want to turn away.

Despite what the title suggests, Wonderstruck represents a rare disappointment from master filmmaker Todd Haynes.

Despite its early unevenness, Only the Brave tells its story in a sincere and relatively non-exploitative manner that isn’t overly dominated by visual effects, and the cast does some very good work as well.

To top off all of the ineffective weirdness, the movie ends on a tone-deaf “got a sequel if you want it” note.

There is a fascinating impulsiveness to the production of this story, especially as it essentially drops viewers into the world of Daje, and then has us follow her for months.

Some interesting things start to happen in Thy Father's Chair as the cleaners make headway, room by room.

Its lively finale is heartening, given the patience that Laaksonen was obliged to exercise before he could live his life out in the open. But the insights of the movie are too scant for much of a real impression to take hold of the viewer.

For an hour, Lucky McKee’s Blood Money is aggressively annoying, the kind of film with no likable or believable characters, and one of those cheap VOD flicks in which it feels like everyone was there purely for the paycheck.

Though Donald Trump is never mentioned by name in all 140 minutes of Ai Weiwei’s new documentary, Human Flow, the picture is, quite simply, the most monumental cinematic middle finger aimed at his scandal-laden administration to date.

The word “genius” is heard more than once, and the more the film shows us, the less even hardened skeptics will be likely to demur.

What could have been a salute to the power of imagination to heal damaged souls and broken relationships instead opts to focus on tragic events.

The turgid revenge thriller The Foreigner is an all-around lousy movie.

Professor Marston and the Wonder Women aims to shake you up, make you think and maybe even squirm a little. Make that a lot. This movie is sexy as hell, featuring several scenes of steamy three-ways and kinky S&M games.

The Meyerowitz Stories shockingly belongs to Sandler, who is absolutely fantastic.

Worst of all, it wastes the meta-idea that a lot of horror films are basically like “Groundhog Day” to an extent, as we watch relatively indistinguishable counselors at Camp Crystal Lake, for example, get killed again and again.

It pays attention to issues of racial, religious and gender discrimination without wavering from its main objective: giving us an entertaining film about a couple of guys who are in way over their heads.

The Christmas-themed home-invasion movie Better Watch Out starts out as one kind of unpleasant, then switches gears to a higher level of unearned nastiness.

Great actors Ben Mendelsohn and Rooney Mara do their best to elevate the frustrating Una, but their director doesn’t seem to understand what he has in these two performers, constantly pulling back from their raw emotion and complex characters.

Appears at first to take a more macro perspective on gay rights. But it tells a big story indeed.

Even though other characters appear from time to time, Barracuda is a two-hander, with one extraordinary scene after another (the script was written by Cortlund).

The movie would fit nicely in a film festival comprised of works with a similar theme, including "Legends of the Fall" and "The Revenant" and older wilderness dramas like "Jeremiah Johnson" and "Bend of the River."