The film presupposes a bit more interest in the pair's friendship and personal lives than many viewers will have.

A steady, austere treatment of a notoriously and riotously rambunctious subject, Set Fire to the Stars takes a non-incendiary, safe-hands approach to potentially combustible material.

While the director/screenwriter is to be commended for avoiding the usual bloodsucker clichés, he hasn't replaced them with anything particularly interesting, with the result that the story plays like a quasi-mystical melodrama featuring characters about whom we care little.

Despite a low-rent aesthetic that (like Grant's all-caps-happy website) doesn't sufficiently distance it from the tinfoil-hat world, Soaked presents evidence one has a hard time dismissing.

There's admirable frankness, intelligence and sensitivity here. Additionally, the film is a thoughtful, funny reflection on the gains and losses of growing old.

An enthrallingly intimate look at the brilliant, troubled and always charismatic screen legend.

Intensely self-conscious of its status as a cultural commodity even as it devotedly follows the requisite playbook for mass-audience blockbuster fare, Jurassic World can reasonably lay claim to the number two position among the four series entries, as it goes down quite a bit easier than the previous two sequels.

The film’s only weakness is its ending, which is so subtle it risks being interpreted by the majority of viewers as enigmatic or unclear.

Mullins knows just how much plot this enterprise requires (answer: not a lot), avoiding boredom by giving the quartet reasons to leave houses behind and, eventually, to fracture.

The dark fantasy manages to be grindingly dull despite its many quirks.

Equal parts ethnographic and poetic, this eloquent drama's stirring soulfulness is laced with the sorrow of cultural dislocation but also with lovely ripples of humor and even joy.

Provocative and hard-hitting, Every Last Child is a chilling reminder that even diseases once thought eradicated are still capable of rearing their ugly heads as a result of ignorance and prejudice.

Filmmaker Heineman vaults us into a true heart of darkness.

Even without the cloud of the recent disturbing developments, United Passions is a cringeworthy, self-aggrandizing affair that mainly benefits from its unintentional camp value.

Has its pacing problems, and the special effects are strictly of the cheesy variety, but it provides enough genuine scares to make it thoroughly enjoyable, especially if seen at a drive-in on a hot summer night.

Playing like a white-trash Greek tragedy, Dawn Patrol squanders the good will that budding screen heartthrob Scott Eastwood earned for his recent starring turn in "The Longest Ride."

Insidious co-creator Leigh Whannell’s economical script vividly reimagines Elise’s motivations for using her “gift” to aid the demon-afflicted while providing a clearer plotline that avoids many of the convoluted indulgences of the first and second episodes.

Striking an elegantly sustained balance between intimacy and historical scope, director James Kent's WWI-set epic Testament of Youth encompasses nearly all of the virtues of classical British period drama and nearly none of the vices.

Amid the not-so-troubling setbacks, unbelievable triumphs and perpetual spring break, the movie takes one or two nice twists.

As pure entertainment it certainly does the job, although much of the text's existential weight is lost in the process.

Club Life demonstrates that not everyone has a compelling story to tell.

With the screenplay’s strained whimsy and pathos, not to mention its unpersuasive, at times incoherent musings on the politics of space exploration, Crowe squanders the star power at hand.

It's a thrill, and one that seriously rewards big-screen viewing.

The movie is at its strongest when it integrates family dynamics into the plot rather than indulging in extreme couples therapy.

This is a tough film, easier to admire than fully embrace, but its seriousness of purpose and disdain for banal melodrama make it quite arresting.

Hakonarson observes all this with the practiced eye of a good documentarian but, in the compositions, the rigorous timing of the editing and the performances of the two leads, he lifts the material beyond the observational to a modestly accomplished work that not only neatly observes an obscure lifestyle but brings to life a most peculiar sibling relationship.

Acevedo deserves credit for crafting something so audacious – along with the photography, the sound design by Felipe Rayo is also boldly conceived – though there are moments when the style really dominates the subject matter, in a film that’s a pleasure to watch but not always one to follow.

While Chronic is a depressing sit, it's a sobering window into the self-sacrifice and psychological strain of the caregiver, as well as a provocative contribution to the ongoing debate about humane assisted suicide.