The glittering cast of Death on the Nile is all dressed up but, alas, they have nowhere to go.

Catch the Fair One is a revenge-thriller, and a satisfying one, since the evil on display is so total. However, the satisfaction is hollow. Hopelessness is the dominant mood.

Jenny Slate and Charlie Day deserve better than “I Want You Back,” a leaden rom-com that gives them a shot at being funny, charming, and sweet, only to squander it scene by scene.

Another season, another “Liam Neeson Has Skills” movie.

A tougher, smarter film than American sci-fi cinema buffs are used to seeing.

Fashioned out of fresh faces unable to lie to the camera, “Playground” is a study in human behavior wrapped in equal parts fear and curiosity.

The end result is that particularly crumbly kind of book-to-film adaptation that comes across more like a SparkNotes you can watch, a story told at double-speed with much of its impact missing.

Leading man Johnny Depp is up to the challenge, and he gives a finely tuned performance here that kind of feels like his first "old man" turn, and he’s matched by a charming piece of work from Minami, but Minamata is weighed down by self-important direction that loses the human beings in this story by prioritizing the headlines.

Sometimes, the suggestive nature of Gregg’s impressionistic mood piece—as well as a characteristically strong lead performance by Riseborough (Possessor, Mandy)—is enough to sustain one’s interest in Here Before. Right up until Gregg lobs an unsettling and only partly satisfying twist at viewers and leaves us to work through our feelings on our own time.

The Pact starts off on an intriguing note and has some moments when it does work (especially the ones involving Grete), but while it's theoretically filled with dark psychological underpinnings, it seems oddly reticent to deal with them in any significant way.

Ruthless and precise, Steven Soderbergh’s “KIMI” is a timely commentary on isolation and intrusion.

The Worst Person in the World, Trier’s stirringly sophisticated masterpiece, unrolls in piecemeal manner, but once fully extended is a tapestry of unfeigned experiences sowed with the thread of truth, in all its painful ambivalence.

Co-written with Harald Kloser and Spencer Cohen, “Moonfall” is a lumbering, long locomotive of one cliche attached to another, making time pass slowly even though there is so much juggling of these different one-dimensional relationships.

The film is clearly sweet and well-intentioned, but Mexican director and co-writer Analeine Cal y Mayor has trouble transcending the confines of her meager budget, which leaves “Book of Love” looking and sounding distractingly chintzy.

As we tag along with Haroun’s characters, we learn to appreciate their story as a small, but vivid study of lives that are so much more than their progressive developments.

It would have been one thing if Alone with You at least worked as a genre outing on some level. It doesn’t—the film’s chills and scares are nearly non-existent; plot, stretched to the seams, unable to sustain a feature's length; and camera work, amateurish.

Last Looks works best in its twisted often-incoherent plot, where no character is generic. Everyone has a secret. No one is on the level. Surfaces lie.

The Long Night wants to create a sense of encroaching fear and unease in viewers but cannot inspire much of anything other than boredom and apathy.

The wolf and the lion make a great team; the humans and the script do not.

It is equal parts Buster Keaton-Jackie Chan slapstick extravaganza, WWE-styled spectacle, and "geek trick."

This restless film is hardly content to present a portrait of an icon, instead insisting, with compassion and clear eyes, that icons are all too human too.

Fans of cheap thrills and cheesy B-movies are sure to be frustrated by The Requin, a new shark pic that waits about an hour before introducing major carnivorous fish action. That alone might turn off viewers since The Requin only lasts about 89 minutes, and most of the movie plays out like a soapy two-hander about survivor’s guilt.

Is it a compliment or a slam to say that "Sundown" could be the saddest "Curb Your Enthusiasm" episode ever?

Pretend it’s not a “true story” and it’s still a shallow representation of sports, parenthood, and comedy, with almost no laughs.

Georgian filmmaker Levan Koguashvili’s Tribeca prize-winner, “Brighton 4th,” is a tragicomedy that sneaks up on you stealthily before flooring you with an emotional sucker punch in the final reel.

Allen’s direction, with Vittorio Storaro lensing, is typically fluid. If you’re at all inclined to view this movie, you’ll find it’s very easy to take in.

Again, merely watching Brody engaging in such painstaking work is interesting; the generic bloodbath that ensues, less so.

The passion for the food, the dream, and each other that fueled the beginning of the story is less vibrant when the details are revealed.