Closely based on the director's own troubled youth, Farming is rooted in rich, complex, potentially gripping material. But Akinnuoye-Agbaje slaps this story together with so little subtlety, he ends up seriously diluting its dramatic power.

Despite superb performances by Nat Wolff as a conflicted young soldier and particularly Alexander Skarsgard as a sociopathic platoon leader, the picture proves only sporadically compelling.

A pedestrian thriller whose personal-tech gimmick is even more thinly imagined than one might guess, it's a jumble of cheap jump scares made watchable by likable leads Elizabeth Lail and Jordan Calloway.

It suffers greatly from obeying the imperative the first sequel established: Trying to blow minds and up the ante the way that FX-pioneering adventure did, this one offers a series of action set pieces that go from big to huge to ludicrous, even as the script's additions to fear-the-future mythology underwhelm.

Modine makes it work anyway thanks to his charm and charisma. His enjoyably playful performance helps prevent Miss Virginia from feeling entirely like an issue-of-the-week television movie.

Director Patrick Lussier and co-screenwriter Todd Farmer were previously responsible for such enjoyable guilty pleasures as "My Bloody Valentine" and "Drive Angry." Unfortunately, their latest collaboration, Trick, is definitely no treat.

While he's not hinting around at the kind of systems of control he'll expand on to surreal effect in Dogtooth, The Lobster and elsewhere, Lanthimos enjoys provoking us visually.

There’s barely any let-up in tension throughout the film, even during interviews with subjects who could either be concealing murderous personal histories or potential victims risking their lives to disclose the excesses of law enforcement.

This remarkable true story is a finely crafted exercise in slow-building suspense, though it works better as a gripping mood piece than as journalistic investigation, its raw confessional style slightly compromised by niggling narrative gaps and dramatic contrivances.

Though Turturro turned this small part into a memorable character for the Coens, Quintana is not so reliably funny here, especially headlining a whole film of very intermittent charm.

Shot over four years in Kenya, the film boasts an undeniable authenticity, thanks to its filmmakers' quarter-century of experience making wildlife films in Africa. And while elephants are naturally camera-friendly subjects, their behavior here is captured with a particularly impressive immediacy.

Rounding up all the original's stars and throwing several more surviving human characters into the mix, the pic is plenty entertaining for those of us who, paradoxically, find zombies comforting in dark times.

Every conceivable button is pushed to achieve rote satisfaction in young viewers, while any notion of creating tension and suspense is dutifully ignored. Not for a moment is actual peril considered as something worthy of a dramatic climax.

Fashion designer and immigrant from Belgium Diane von Furstenburg is the film’s tour guide (and also executive produces). A self-appointed “godmother” of the statue, von Furstenburg is a witty, easy-going host whose confidence and curiosity, not to mention her love of taking selfies, is a boon to the documentary.

With no commentary beyond audio clips and visuals composed almost entirely of historical footage, Periot uses the radicals’ own images and words to show how their discourse evolved over ten years from progressive to militant.

Nearly everything misfires here — bizarrely so, since we can see where the laughs should come, how they would work, and how a more competent movie would get from A to Z. (To be fair, some jokes do land, just not as satisfyingly as you'd hope.)

El Camino is a high-quality piece of suspense and action filmmaking carried by Paul's still-tremendous performance as Jesse Pinkman. It looks great, sounds great and if you're a fan, it's full of cameos and references that are sure to amuse.

This solidly crafted Ridley Scott production is sprinkled with classy ingredients, including Alicia Vikander as headline star. But it is also a fairly flat treatment of over-familiar plot elements, and fatally low on the key psycho-thriller elements of suspense, surprise and dread.

What it has going for it in spades is supremely creepy atmosphere. The hospital virtually becomes a major character in the story itself, its washed-out coloring and neon lights making everyone look like they have a sickly pallor.

It would, after all, take a sleuth of Hercule Poirot-like talents to discern what attracted these supremely talented (not to mention, in the case of one of them, Oscar-winning) thespians to such lame, cliched material.

A movie so bland and forgettable it hardly merits a groan from the Frankenstein-like butler called Lurch, The Addams Family strongly suggests that directors Greg Tiernan and Conrad Vernon deserve little credit for 2016's Sausage Party, the hit they directed for writers/producers Seth Rogen and Evan Goldberg.

The humor is sometimes strained, and Lellouche doesn't always demonstrate the lightest of touches.

For those who like head-on, immersive emotional experiences at the movies, The Sky Is Pink may be a direct hit.

It can't be denied that Gift occasionally borders on being too New Agey for its own good, and, let's face it, its entire ethos can be boiled down to the simple phrase "Pay it forward." But don't be surprised if you're compelled to perform an unexpected act of generosity soon after seeing it.

Unfortunately, it all plays out in completely tedious fashion, having all the urgency of watching someone having an impassioned argument with their medical insurance representative.

Mister America proves a witless, one-note political satire whose deficiencies are even more glaring when such humor feels entirely redundant to our current state of affairs.

Lacking the personalities and attitude that have led some other unassuming productions to commercial success, the film has little to boast about beyond some fine dance sequences — none of them more transporting than what can be found easily on small screens.

If they don't know going in, most viewers will be surprised in the credits to learn this is the voice of Brie Larson. Presumably, Larson wanted to lend her star power to a worthy promotion of scientific research; but in this case, the scientists were doing fine all by themselves.