Only the talents of its estimable cast, also including Pierce Brosnan and Minnie Driver, manage to make it worth checking out.

Lacking suspense and at times bordering on unintentional silliness in its characterizations, the film is a misfire that sorely disappoints as it comes from the director of such acclaimed efforts as The Syrian Bride and The Lemon Tree.

Lee draws us into the characters' space, judiciously using direct-address at the very end when all this inaction turns suddenly consequential. Pass Over is no happier in the end than the play that inspired it or the real events that inform how we interpret it

Miller knows exactly how the third act should play, and he manages (thanks in part to the increasingly intriguing creature work) to reach an emotionally satisfying conclusion without resorting to some big Gremlins-gore action climax.

Director Regimbal does an effective job of slowly ratcheting up the tension and handling the sometimes brutal violence in a relatively restrained manner. Josh Close’s screenplay is equally nuanced, concentrating as much on the characters’ psychological complexities as the gothic thriller storyline.

Despite all appearances, Personal Problems is indeed moving toward a fairly conventional end. But along the way, it observes much of its era through the corners of its eyes.

You all too vividly feel the strenuous efforts of everyone involved, from the actors struggling to bring life to their one-note characters while hitting all their marks to the cinematographer keeping his camera aimed exactly where it's supposed to be.

The central figure in Sebastien Chabot's documentary exhibits undeniable passion. Describing the object of his adoration, he comes across an intelligent, articulate and more than a little long-winded. Whether or not you'll enjoy hearing him expound at length will depend on how interested you are in gardens.

Co-directors David Douglas and Drew Fellman achieve the ideal balance of tender storytelling delivered with a conservationist message. But it’s ultimately the visual experience offered that sets Pandas apart from the titles in the impressive wildlife series from Disneynature.

If the film ultimately lacks the narrative focus necessary to make it stick in your waking memory, its shocking images may well haunt your nightmares.

The Endless is not just about latent power struggles within cults but also within families, and about how both are eclipsed by more ancient, malevolent cosmic forces.

In terms of its visual command, the movie could hardly be more expressive.

The film is so ridiculously overwrought that it makes the Madea films look subtle by comparison.

For those ready to view it on its own terms, its gentle focus on family and persistence should go down easy.

Tagging along with the now octogenarian Jean Vanier and meeting some members of his surrogate family, Randall Wright's Summer in the Forest champions his vision by quietly watching it in harmonious action.

The New Romantic comes off as too forced and calculated.

An easygoing hangout film that will ring true for anyone who has worked in the service industry, it continues the filmmaker's streak of making movies that have few obvious common denominators besides empathy for types of characters who rarely get it.

The solution to Kyle's problems is as predictable as everything else in this cookie-cutter picture, which is only made tolerable by the surprisingly solid cast Speer has attracted.

Only the luminous presence of Sharon Stone, delivering one of the most charming performances in her career, manages to rescue the otherwise hopelessly awkward proceedings that make you wish that All I Wish had been better.

The old debate over nature versus nurture is played for (sporadic) laughs in Birthmarked, a satire that's unable to deliver on a promising hypothesis.

While God's Not Dead: A Light in Darkness proves less fiery in its preaching than its predecessors, it's also a significantly duller offering. How could it not be, considering that its main plot element involves a courtroom battle over real estate?

Spry and playful at times, pedantic and ponderously repetitive at others, the film is French down to its sweaty tennis socks and ultimately a touch too self-satisfied in its clever unconventionality.

This is a rape retaliation thriller both tautly controlled and wildly over-the-top, executed with flashy style, sly visual humor and a subversive feminist sensibility.

The filmmakers assemble a dense portrait of a man disheartened by his failure to move the needle on economic justice, even as he succeeded in tracing ties among the common problems facing blacks, Latinos, Native Americans and even low-income whites.

While it's well-intentioned to a fault, and driven by deep convictions, the film also is diffuse, lethargically paced and short on thematic trenchancy, building powerful individual moments but seldom sustaining a compelling narrative thread.

British director Sophie Fiennes certainly finds Jones a spellbinding subject in Bloodlight and Bami, securing intimate access to the veteran diva over several years without ever quite managing to spill her secrets.

What stays with you is Jacobson’s grippingly understated lead turn, which promises a fruitful screen life beyond Broad City.

The Happys never manages to find a consistent tone, awkwardly blending broad comedy with serious emotional moments that don’t come off. It also attempts to weave in serious discussions about sexuality and ethnicity in Hollywood, generally via stilted dialogue exchanges in which the themes are explored in boldface fashion.