Asking for It, the pitifully underwhelming feature debut of writer/director Eamon O’Rourke, is like a guest that shows up to the party late, empty-handed, and without the common courtesy to at least be a good conversationalist.

The Weekend Away is the best kind of purposely preposterous potboiler. The scenery is gorgeous, the twists keep the adrenaline pumping, and the performances are memorable. Even though you might not remember everything that happens, you’ll have a good time while it lasts.

Against the Ice delivers all the delirious period drama thrills and survival horror angst that you could want from a movie with that title.

The prior end to this series, “A Madea Family Funeral,” was actually a decent movie. Madea should have quit while she was ahead.

This is the most beautiful Batman movie you’ve ever seen—even if it’s not really a Batman movie at all.

Cyrano gets the big things right, and Dinklage embodies it all.

Studio 666 is the kind of broad horror-comedy that could certainly stand to be a little scarier, a little funnier, and more clever overall. But then again, no other horror-comedy stars rock band the Foo Fighters as themselves, which is the main pull for this special Foovie event.

The Burning Sea may ultimately be too uptight for its own good, but there’s enough here to satisfy disaster aficionados who’ve already been here before and only really want to root for more of the same.

This ambiguously humorous film with a shaky pace and viewpoint sets forth a tough proposition: will you be patient for its 80+ minutes of running time, accept that nothing much will actually happen throughout that duration and settle for occasional jolts of rewards only?

Feature-length failures as abject as this one are almost frightening, in part because one worries about what kind of a snit the director will be working out if/when he gets a second shot.

Once in a while, you see a film where it's clear that everyone involved is operating at the peak of of their skills, yet the whole is so misguided that the result is still awful. Such is The Desperate Hour.

Instead of exploring the more complex dynamics of adolescent social structure, it limits itself to an artificial set-up and a superficial level of storytelling, more afterschool special than feature film.

No Exit is imperfect and struggles to get going, but it's a grisly piece of work that earns your suspension of disbelief.

Like “The Deeper You Dig,” Hellbender gets better as it gets more surreal, but this one has a nice balance to the out-there imagery in Zelda’s grounded, coming-of-age performance. I love the movies she’s making with her family, but I’d also really like to see what she could do with another director too. She’s got the range and potential.

There’s so much going on in Three Months, so many emotional pieces in motion, but very little of it is particularly moving.

Fistful of Vengeance is a movie in duration only; it’s pretty slapdash in terms of its execution, even during its glossy-looking action set pieces.

Strawberry Mansion sacrifices nothing. It's whimsical but it's poignant, it's light-hearted and it's deep.

It's all so rich—and so richly executed by Ellis, a total filmmaker—that one wishes it added up to more than a series of smart variations on a certain type of film.

Downfall so completely erodes trust in a once-revered institution and the others meant to regulate it that Boeing’s recent claims the 737 Max’s issues have been addressed—that the aircraft is now safe to fly—can only be met with high skepticism. If it’s Boeing, I’m not going.

Copley’s performance remains riveting throughout. It’s a testament to his delivery and physicality that we can hear Kaczynski speak expansively about what he’s going to do, and we can watch him experiment with various explosives, and we’re still on edge, wondering what might happen.

Director Ruth Paxton puts you on edge from the beginning in “A Banquet,” and holds that unsettling mood throughout. But because the sound design is so vivid and Paxton’s eye for disturbing detail is so creative, it’s even more frustrating that the payoff is so unsatisfying.

It’s a startling misfire, a movie that fundamentally fails at almost everything it’s trying to do. Leatherface deserves better.

Dog is uneven in tone and quality but shows promise in the way Tatum and Carolin approach the story with care and heart.

This is a nuanced film, one that doesn’t lay itself out in what we would consider a satisfyingly linear fashion. But it’s the sort of thing that gets a grip on your spine when you’re least expecting it.

Whatever "Breaking Bread" lacks in artistic ambition, it makes up for with its good heart, sincere intentions, and, most importantly, all of those luscious images of food.

Aimless, immature, and frustratingly amateurish, Richard Bates’ “King Knight” feels like it was made exclusively for those involved in it, with no regard for an audience’s patience or time.

There’s enough here in the sheer wealth of material that fans of Peterson’s or jazz could find this documentary worth the runtime. But it’s unfortunate that Avrich and his team were not able to shape this material into an overall stronger narrative.

How is a movie based on a video game more soulless than the game itself? The knock against the world of gaming has long been that they lack a human element, but Ruben Fleischer’s Uncharted feels emptier than the award-winning franchise on which it’s based.