In Order of Disappearance provides a wonderful vehicle for Stellan Skarsgard's stone-faced gravitas and calm intelligence.

Both surreal and sinister, it feels like we are watching a real-life version of The Truman Show.

Cranston turns every moment of duplicity, which is to say nearly every scene of The Infiltrator, into an emotionally textured high-wire act.

Mike and Dave Need Wedding Dates rates medium on the grossness scale (an all-body, pre-marital naked-Indian-guru-administered massage for the bride with a happy ending, anyone?), and pretty high in crude talk. But it's kind of a dud when it comes to endurance and imaginative moves.

DeMonaco has further upped his game with the third installment by working closely with franchise cinematographer Jacques Jouffret to design rewardingly more complex action sequences and well-focused set pieces that are both efficiently executed and visually engaging.

The Legend of Tarzan isn't half-bad; actually, it's pretty good. Beautifully made and smartly set at the beginning of Belgian King Leopold II's rapacious colonization of the Congo in the 1880s, this is certainly the best live-action Tarzan film in many a decade (which, admittedly, isn't saying much) and offers a well-judged balance of vigorous action and engaging-enough drama.

Inspiring as her journey may be, however, the film tracks an overly familiar arc, dwelling on Shields' disadvantaged background, teenage romance with another young boxer and family turmoil but providing limited focus on the sport of women's boxing or the complexities of obtaining training sponsorship or lucrative endorsements.

Unlike the films he’s co-written for Jacques Audiard (A Prophet, Rust and Bone…), which often rely on Audiard’s stunning capacity to foreground grand emotional sweeps, this is a much more constructed narrative that could only be described as a writer’s film, though one with several pleasant — if shocking is your idea of pleasant, that is — surprises up its sleeve.

It's to the script's credit that it doesn't tie up the story in cute little bows and instead leaves a number of questions unanswered by the end.

Challenging and richly realized, the drama about a cop wrestling with guilt over his young daughter’s disappearance effortlessly and effectively weaves together fantasy and reality, melding the tension of cop thrillers with the introspection of a psychological drama.

Setting out to show the range of expression found in a field of craft it feels is too often dismissed as a trivial women's pastime, Una Lorenzen's Yarn showcases four artists doing things with crochet your spinster great-aunt probably never imagined.

The Love Witch is an expertly executed homage that works brilliantly on its own original terms.

Rollins' villain is a deliciously deranged, compelling character, but the problem is that there's not enough of him in this otherwise routine B-movie clearly shot on the cheap, with low-grade CGI effects making the shootouts and gore mostly laughable.

Though it's better than its "dump this thing" theatrical release would suggest, Cell is far from excellent.

There are plenty of fisticuffs and shootouts to be found in The Duel, but precious little of interest.

It's all about as dreary as the constant rainfall featured as part of the Portland, Ore., setting, and the director, when he's not leeringly photographing his leading lady's naked body in the shower, vainly tries to up the scare ante by periodically raising the soundtrack volume to intolerable levels.

Shallow is a mild word for it. Others would be silly, miscalculated, unconvincing, artless, pandering, hokey, ridiculous. Or just plain awful.

Aside from a supporting turn by Hannibal Buress as a king-of-the-geeks character, the film's most diverting ingredients are its aggressively crude character design and its sickly color palette.

Slow and talky but suffused with insight and intelligence, the film is another noteworthy effort from the writer/director of such intriguing if unfortunately little-seen dramas as Glass Chin and Sparrows Dance.

The main thing consumers will be looking for from Resurgence is bang-for-buck entertainment, and that it delivers reasonably successfully.

A compelling and little-known story of the Civil War period is studiously reduced to a dry and cautious history lesson in Free State of Jones.

It’s as if co-directors Michael Thurmeier and Galen Tan Chu, both veterans of the Ice Age franchise, sensed that there was essentially nowhere left to go with the concept and opted to instead overstuff the production with too many characters breathlessly doing tired, pop culture-heavy “bits” like it was open mic night at the Paleolithic Punch Line.

As much as Don't Think Twice focuses on professional envy, though, it remains a love letter to this weirdo art form called improv.

There’s a carefree spirit about everything that happens, including all the talk about girls and masturbation, that makes the story as breezy as the summer air,

Although engaging enough to hold interest, the just slightly off casting of Ewan McGregor and Stellan Skarsgard...dampens plausibility.

The taut pacing of the original is a distant memory here. On a positive note, Peter Kam’s fine, ever-present musical comment effectively pumps up the tension even when the screenplay fails, all the way to its final crescendo.

A compelling gateway documentary that should absorb both fans and novices alike.

Variety and depth of character are badly lacking on the female front, weakening the whole film.