Puts a human face on the issue of income inequality.

Posing serious questions about violence and vigilantism while reveling in both, Captain America: Civil War is overlong but surprisingly light on its feet. It builds upon the plotlines of previous Avengers outings, bringing together known marquee quantities and introducing the Black Panther and a new Spidey in winning fashion.

The trouble with Chongqing Hot Pot is that despite its brief running time, it takes too long to bring its various threads together.

The film feels at once incredulous and strangely inept, with the director resorting to facile plot twists or heavy-handed pathos whereas a little subtlety and sense would have went a long way

Colonia marks a truly misguided attempt to fabricate a Hollywood-style thriller out of the darkest quarters of Latin American history.

Florence Foster Jenkins is a modestly enjoyable crowd-pleaser, but it ultimately feels smaller than its subject, a deeply conventional portrait of a highly unconventional woman.

Barbershop: The Next Cut, the third installment in the film series, brings the laughs while injecting a serious topical theme that gives it a welcome edge.

Unlocking the Cage makes its case for reevaluation of non-human animals' legal status in crisp, convincing fashion.

There is a decorousness at play here that adds an odd new flavor to the Almodovar repertoire, a politeness that’s quite unlike the lusty vulgarity of the past.

Director Michael Damian does not bring any special spark to the film, but he recognizes the talents of his cast and allows them to shine.

The leading man aside, a fine cast is thoroughly wasted in a tale that centers on old-fashioned Cold War-style conflict rather than the sort of terrorist drama that's more pertinent today.

The rest of us will likely fall into one of two camps regarding this well-intentioned film: those who praise it for drawing attention to the suffering of helpless children, and those who find it sufficiently lacking in cinematic value to decide there are better ways of helping those kids than spending 90 minutes watching it.

Vita Activa: The Spirit of Hannah Arendt wrestles with its unwieldy subject with only sporadic success.

This posturing, airless exercise is wearing rather than exciting.

It's a welcome human-scale outing for a director who stumbled upon leaping from 2000's breakout debut Girlfight to the would-be tentpole dud Aeon Flux.

Its paper-thin characterizations, hackneyed plotting and overdependence on viciously profane humor put this effort more in the minor league of Tammy, McCarthy's previous collaboration with her director/co-screenwriter husband Ben Falcone, than her truly inspired work with Paul Feig on Bridesmaids and Spy.

Originality or insight aren’t very high on the priority list of this drama.

The film is a body-mover above all, with great vintage clips pairing nicely with well-photographed new material in which dancers wearing appropriate fashion dance in slo-mo — everyone reveling in the melting-pot beat.

On the surface, the doc makes some compelling arguments, although most of its power is emotional rather than informational.

Cedric Anger’s stylish thriller Next Time I’ll Aim for the Heart (La prochaine fois je viserai le coeur) offers up a strong central turn from Guillaume Canet while dishing out a number of crafty and suspenseful set-pieces. But it can also be too self-serious at times and winds up dragging a bit in its latter stages.

It’s passably entertaining, and like the last one breathtakingly crafted, especially Colleen Atwood’s microscopically detailed costumes.

Even as the drama and its treatment become increasingly conventional and familiar as the film moves toward its patly (and arguably overly) audience-pleasing wrap-up, the exceptional visual quality and lifelike animal renditions remain stunning throughout.

A wrongheaded, utterly incompetent, and nearly laugh-free satire.

The film is surprisingly shoddy stylistically.

If you’re looking for a brilliant talking-animal film, it ain’t this one, babe, but it’ll do — specifically as a lead-in to potential pet adoptions; the filmmakers are partnering with rescue groups for opening-weekend events.

The aim is admirable, the execution somewhat less so. The film makes a few too many missteps, but it does deserve credit for re-opening debate on an issue that merits serious scrutiny.

Highly engaging performances by Dev Patel in the lead role and Jeremy Irons as his curmudgeonly mentor gradually warm up the Cambridge story, but the Indian part feels perfunctory and unconvincing.

This offbeat indie chiller benefits from colorful cinematography and bits of satisfying butchery, even if a less than airtight scenario fails to make it run efficiently.