The film will surely have its own role to play in the arena that perhaps counts most: the court of public opinion.

I removed my eyeballs from my head as soon as I got back from Alice Through the Looking Glass and cleaned them in a sink. I could have left them in and only cleaned the fronts, but I didn't want to take any chances.

X-Men: Apocalypse is a confused, bloated mess of a film.

The irony is that as Gallner’s performance gets stronger, the film around him grows weaker.

If it were possible to splice the DNA of William Faulkner and John Cassavetes, the resulting progeny might produce a film like Roberto Minervini’s The Other Side, an immersive, almost harrowingly naturalistic plunge into the lives of marginal Louisianans obsessed with guns, drugs and belligerent resentments.

It’s pretty frustrating to watch a close-but-no-cigar movie like this.

Terrence Malick is one of the producers of Almost Holy, and while Hoover doesn’t go for a full interpretation/realization of his style, there are touches that evoke the director’s work, especially in the film’s last sequence.

More important than the washed-out blue-tinged rooms, bleached white interiors and sun-blasted sea and sand is Cruz, who single-handedly breathes a sense of genuineness into this maudlin exercise even if she can’t cure all of its flaws.

Pervert Park is eye-opening about the lives of convicted sex offenders, as inspired by a degree of empathy we need not be afraid of.

Maggie’s Plan almost isn’t screwball enough. The characters must undergo some introspection, as well, and striking a balance between those two dynamics proves challenging.

A documentary that plays as cringe comedy. Like that sub-genre, it comes packaged with a star whose irascibility often leads to eye-covering levels of discomfort.

The Angry Birds Movie isn’t a total turkey. The animation itself is OK and I did laugh out loud once.

The cast is perfect, but The Nice Guys could have used one more rewrite or two and another trip to the editing bay to really streamline jokes that don’t work and a plot that gets more cluttered than engaging.

The bad news is that, as movies go, Neighbors 2: Sorority Rising barely qualifies as one.

Ultimately, the film registers less as an indictment of widespread financial corruption than as a shallow exploration of one man’s greed. But briefly, when it’s at its peak value somewhere in the middle, Money Monster is a solid bet.

I want to defend this movie, but it's so bad that I must warn you: if you watch this film knowing that it is Steven-Seagal-wearing-a-du-rag-and-glowering-impassively-at-attractive-young-women bad, you will get what you pay for. That's both an endorsement and a warning.

When did these very funny and undeniably talented TV actors know that Search Party was a disaster?

There are large chunks of What We Become that feel like something we’ve seen before, a repeat of the AMC series perhaps, and just when it’s getting interesting, it ends, almost like it’s a pilot for a new series.

A well-meaning and sometimes interesting effort written and directed by brothers Jeff and Michael Zimbalist.

Don't let the tacky American-friendly title of Kill Zone 2 fool you: the martial arts genre's next big thing is here, and it is way meaner, more technically accomplished, and more exciting than its disappointing marketing strategy implies.

At the very least, we should give thanks that an almighty cinematographer like Emmanuel Lubezki, who has won a record three consecutive Oscars for his work on “Gravity,” “Birdman” and “The Revenant,” exists.

A moderately entertaining heist movie featuring an animated and reasonably diverting Eccentric Cage Performance.

The Lobster plays rigorously by its own rules without once telegraphing "Just kidding!" While extremely funny, it is a bitter and ruthless film. Lanthimos plays target practice and his aim is deadly.

Stillman pushes the comedy right up to the edge of screwball.

The Darkness is pretty much a total bust—it isn’t scary, it isn’t exciting and it plods along at such a snails pace that even though it clocks in at just over 90 minutes, it plays like it runs at least twice that.

The movie deserves to be known, first of all, as a terrific example of intelligent, captivating film craft—further proof of the recent strength of Mexican cinema.

One of the great director Terence Davies' best films: an example of old school and new school mentalities coming together to create a challenging and unique experience.

The filmmakers really do manage to visualize a distinctly Ballardian nightmare-scape. This in itself makes High-Rise worth experiencing.