Talky and cerebral, this theatrical drama juxtaposes space and light and explores ghosts from the past and love in the present.

[Marquardt's] film sustains tension and is arrestingly lit and shot, exhibiting a sharp eye for expressive compositions and a persuasive feel for the sheer alienating physical density of New York City life.

Of interest to Police fans but hardly a rock-doc for the ages.

Featuring enough clanging sword fights, severed limbs, slit throats and bare-bones dialogue to satisfy genre fans while pretty much failing to provide something of interest to anyone else, Sword of Vengeance has the feel of an 11th century-set video game.

How the film wound up in theaters rather than on the Syfy channel is anybody's guess, although the R-rated gore and sex is clearly a major factor. Nonetheless, it has a certain goofy, Troma Films-style charm, and the brief 77-minute running time makes it appropriate for the bottom half of a drive-in double feature

The Walking Deceased is strictly DOA.

Metalhead is uninterested in caricature or easy laughs, and its embodiment of guitar-hero obsession is one much more closely resembling someone you knew in high school, albeit someone who's had an exceptionally hard time dealing with childhood trauma.

Lee's eye for everyday Chinese life - whether in isolated rural villages or among aggrieved laborers on fish farms - compensates for the film's minimal commentary on the larger social trauma brought about by human traffickers, and the stigma faced by their victims.

What’s finally tragic about their destiny of choice is not that the couple succeeded in becoming immortal together but that everything leading up to their death was the result of very banal actions and shot through with an extreme sense of loneliness.

A passably silly but lowbrow buddy comedy.

Laugh-stuffed and making excellent use of its marquee-grade supporting cast, it promises to be a home run in its early summer release.

Cutting through many of the easy signifiers found in bad-behavior comedies to get at what it actually feels like to be an intimacy-phobic mess, Trainwreck finds Judd Apatow putting his directing chops in service of Amy Schumer's deeply felt but cracklingly funny screenplay.

A film that (whatever massive efforts were required to work around [Paul Walker's] absence) is as stupendously stupid and stupidly diverting as it could have hoped to be had everything gone as planned.

While this near two-hour feature debut does betray occasional signs of inexperience, on the whole it's a work of striking confidence.

While the film plays strongly as both mystery and haunted love story, Bush also gets plenty of mileage simply from the drama of one man's attitude toward himself, if such a thing even exists.

Has sturdy production values, a tony cast and middlebrow tastefulness up the wazoo, but barely any soul, bite or genuine passion.

Eva is a provocative and engrossing effort that, although trafficking in familiar themes, is a notable addition to the timeworn genre.

There’s no question that the feature is a leaner, meaner affair than its predecessor. That’s not enough, though, to counterbalance the often oppressive self-seriousness (though Miles Teller gives it a welcome shot) or to plaster over the holes in the premise.

It helps immeasurably that Gainsbourg, as an actress, is as intense as her presence feels evanescent, always seemingly onto the next moment already, leaving everyone in her wake.

The story keeps everyone in motion all night long, and frantically so, to the point that it could easily have been titled Non-Stop 2.

The kind of blithely confident, creatively impoverished dud that leaves you slightly stunned someone greenlit it, the movie has the distinction of feeling like a bad idea from its very first frames.

The spectacle of a dissolute hedonist suddenly acquiring a heart and a conscience late in life is shamelessly, and shamefully, contrived in its emotional trajectory.

Director Tim Johnson (DreamWorks’ Antz) and writing team of Tom J. Astle and Matt Ember (Epic), keep the momentum humming and the amusing bits reasonably entertaining, but they can’t vanquish the prevailing feeling of deja vu, and that the Boov are merely Minions of a different hue.

Ripe, borderline hammy turns from Javier Bardem, Ray Winstone, Idris Elba and Mark Rylance add some spice.

While most likely to appeal primarily to the comic's die-hard fans — and there are still plenty of them these days, thanks to his hugely popular podcast — Road Hard offers genuine laughs while displaying real heart along the way.

By the time the relatively brief but seemingly interminable proceedings reach their conclusion, viewers may feel like they've been held hostage themselves.

With unappealing one-note characters, retread concepts and implausible motivations, Chappie is a further downward step for director Neill Blomkamp.

Unfinished Business is the cinematic equivalent of sub-par fast food (think Carl’s Jr. or Jack in the Box); it’s cheap, easy and maybe even tasty for a second or two, but leaves you feeling queasy and undernourished.