Apatow also has a knack for spotting up-and-coming talent and using his considerable influence to help foster it on the biggest stage and under the brightest lights. He’s done this with Lena Dunham (“Girls”) and Amy Schumer (“Trainwreck”), and he’s done it again with Nanjiani.

From the very beginning, this is an incoherent mess.

All Eyez on Me is one of the most useless music biopics ever made — it’ll be too confusing for newcomers and too underwhelming for those familiar with the work and the life of rap prophet Tupac Shakur.

The best thing that can be said about Once Upon a Time in Venice, a very light action comedy from Mark and Robb Cullen, is that it allows Willis to cut loose and have fun.

Indie sci-fi film Kill Switch is the worst kind of science-fiction film: the kind that coasts on a central gimmick instead of delivering either visceral or intellectual thrills.

The final exchange between Paisley and McGuinness, when they shake hands, is the best, but by then it's far too late.

This is a movie that is too frenetic and basic to make a substantial impression. I appreciated a kernel of observation here and there, but not enough for me to give it a whole-hearted embrace.

Harmonium is consistently about mood more than anything else. You sink into the film at first. Then, with each new leisurely introduced plot point, you struggle to regain your sense of calm since, after a while, the film's protagonists are doing the exact same thing.

Suddenly, The Book of Henry turns into a not very believable thriller, complete with a ticking clock and a talent show.

47 Meters Down, despite a few things going for it, is an easily skippable work that will, ironically, probably wind up playing better on television and home video, where viewers might be more willing to overlook its failings

Rough Night starts out buoyantly, and it and features some wonderfully weird moments scattered throughout. But those scenes never truly gel with the movie’s eventual life-or-death stakes.

Despite its lack of originality, as well as its lackadaisical storytelling and world building, it satisfies in that amiably weird way that only a "Cars" film can.

This is a remarkably assured movie, through and through. Walsh and cinematographer Guy Godfree have taken care to make every individual shot a thing of beauty. But the artfulness always acts in service of the emotions, which in the end become both inspiring and heartbreaking.

From start to finish, Uziel’s packaging of the story seems more inspired than its contents.

The Hunter’s Prayer is like a Luc Besson film put through a deflavorizing machine to remove any element that could be distinctive, energetic, or fun.

You might come to Camera Obscura expecting nothing more than a kite-high concept like "camera that photographs future murders." But you too will be disappointed if you expect anything more from the film since its creators do not offer satisfying cheap thrills and/or thoughtful consideration of a veteran/artist's tortured post-war psyche.

Dawson City: Frozen Time is a rather clunky and uninspiring title for a film that’s both revelatory and deeply fascinating.

Cohn never turns Night School into a sob story or a manipulative tale of redemption.

Sam Elliott is Sam Elliott as Sam Elliott in The Hero, a sentimental and sporadically effective celebration of the veteran character actor.

Hayek turns Beatriz into her own breed of wonder woman, Lithgow’s Strutt is definitely a super villain of sorts and their head-to-head battle is clearly worth seeing even if, in real life, it has only begun.

Megan Leavey is that rare breed: a war movie that actually shows something new about war, a sub-culture within a familiar sub-culture, the world of the military's K-9 units. For that alone, it should be applauded.

One of the problems with this My Cousin Rachel is that it’s hard to come up with any issue or reason relative to its creation, I’m afraid.

There are times when Raising Bertie can seem a bit too unfocused, but it’s a project that always feels worthwhile for the opportunity it provides to expand an often-narrow view of the country.

It’s amazingly relentless in its naked borrowing from other, better horror and sci-fi movies that I was able to keep occupied making a checklist of the movies referenced.

There are no zombies in the streets, boogeymen in the basement or witches in the woods—and yet it is one of the most terrifying films in years.

The film’s success comes from how Kernell’s skills as a director match the ambitions of her script.

Radio Dreams is an example of both the compelling passion and polarizing fallibility that can arise when a director works primarily from the heart.

It’s a disorganized onslaught of primary source material that doesn’t so much shed light as it does simply exist.