Little Monsters irreverently builds enough good will and comic energy in the early-going to carry it to its conclusion, so it’s bound to gather a cult of some dimension.

The film seems so determinedly intent on keeping the audience guessing that the plot quickly segues from being intriguing to annoying.

This unearthed cinematic nugget provides further evidence, not that any was necessary, of the legendary performer's magnetism and musical virtuosity.

Braid ultimately offers far more style than substance. But it provides many memorable moments and stunning visuals along the way, making it a cinematic ride worth experiencing for more adventurous viewers.

Although it features strong performances and some affecting moments, Then Came You suffers from the sort of cutesiness endemic to so many teen-oriented films, not to mention an over-reliance on montages accompanied by a pop music soundtrack that helpfully reminds you exactly what you're supposed to be feeling at any given moment.

Although its plethora of painfully awkward comic moments will produce shudders of recognition for anyone who's been in a long-term relationship, its sweetly sentimental ending makes The Unicorn a perfectly acceptable date movie.

The Man Who Killed Hitler and Then the Bigfoot is a sprawling, meandering drama that doesn't quite deliver on its ambitious promise (and intriguing title).

Its approach to the source material (a close cousin to the Frankenstein tale) is emotionally and intellectually sincere, enacted seriously, if not always engrossingly, by cast and crew.

While not exactly a misfire, Rodriguez and Cameron's joint effort lacks the zing and originality of their best individual work.

Gareth Dunnet Alcocer's script has a tidy, programmed feel that results in a feel-good version of a grim and sordid modern yarn.

Colaizzo’s dialogue often crackles with modern idioms and good pithy comments, flowing from the distinct characters in easy fashion. As a director, he’s paced the action well. He knows what he’s doing, even when he’s doing the wrong thing.

The book Animals is based on, a well-reviewed literary work originally set in Manchester, has been adapted by the novelist herself, Emma Jane Unsworth. So why does the end result feel so inert and contrived, even if it's exceedingly pretty to look at?

The action never stops being fun, and it eventually does make excellent use of the heavy machinery Nels' job requires. Cold Pursuit just gets a little winded, like a 66-year-old action hero working hard at high altitudes.

Made with the intelligence and good taste one expects from Ejiofor, the involving film cares about much more than the sweeping images of triumph with which it inevitably closes.

Light is just as faithful to formula as Bend It Like Beckham and just as reliant on its lead's likability; here, newcomer Viveik Kalra radiates enough guileless enthusiasm to carry viewers past the film's rough patches.

Pete Davidson is so on-target you might forget all the lines he's flubbed on Saturday Night Live.

I don't think Apollo 11 should be anybody's first or only exposure to the moon landing and its greatest strength is in recognizing that. Its perspective and immediacy are impressive on their own and the documentary takes a worthwhile and distinctive place within the wider storytelling of this important event.

Bart Freundlich's American remake of the Bier film flips the gender of the main characters, yielding predictably strong performances from Julianne Moore and Michelle Williams but otherwise removing the teeth from a melodrama that grows increasingly preposterous as it crawls toward its weepy conclusion.

The pacing slackens a bit in the midsection as Adam shuffles between immersive art happenings, sex parties and karaoke bars in scenes that don't always have as much bite or humor as they could. But the cast is appealing; the visuals are crisp and colorful, with a textured feel for the Brooklyn milieu.

Fighting With My Family reminds us several times that the sport is as much about charismatic storytelling as it is about skill. Judged by that standard, the film is far from belt-worthy.

Polar is pure trash, but the generousness — and, in the final stretch, the poignancy — with which Mikkelsen approaches even the most lurid of the film's conceits at least pushes it toward the top of the garbage heap.

There’s enough fun, writerly glee and actors enjoying their little rampages to make Velvet Buzzsaw a decent distraction for a couple of hours, but also something of a schizophrenic case all its own.

Soderbergh and McCraney have entertainingly stirred the pot and put a perspective on the screen that will stir some reactions in the real world and get the issue of ownership and fairness talked about, at least for a while. It’s a sharp-minded film.

The strength of the film is its appealing characters brought to life by strong actresses.

Mixing archival material and fresh interviews with Edwards and her crewmembers, Holmes creates an engaging, suspenseful story with layers of social resonance. Maiden is gripping and effective even if — maybe especially if — you have absolutely no interest in sailing.

One Cut wears its cheapness as a badge of honor, a tricky endeavor given its actual production polish; make-up effects by Kazuhide Simohata and Jyunko Hirabayashi go a long way to supplying the film-within-the-film its guerilla feel. But the pic's best effect is its ability to ensure the same jokes land just as well in their second contexts.

Replaying many of the visual gags that worked so amusingly before, the latest edition proves every bit as repetitive and uninspired as its glib title, bringing little that’s fresh or funny to the interlocking brick table despite boasting a script penned by originators Phil Lord and Christopher Miller.

Admirably, the director maintains the documentary illusion throughout, opting for a third act that finds exactly the right, understated tone, neither glorifying Rike’s role, nor underplaying the character’s more than obvious compassion.