Clearly intent on inspiring viewers, the informational film makes a fine sum-up for those who've found the last decade's geopolitics too much to keep track of, but isn't promising in commercial terms.

The documentary offers little to further the national discussion on this divisive topic, but its evenhandedness and unstrident tone will go down well with viewers accustomed to more heated treatments of it.

Although the story dynamics are fundamentally silly and the family stuff, with its parallel father-daughter melodrama, is elemental button-pushing, a good cast led by a winning Paul Rudd puts the nonsense over in reasonably disarming fashion.

Pusher struggles to rise above standard drug dealer/gangster fare and succeeds, but only in part, thanks to its strong cast lead by Richard Coyle.

While Lee leaves some of Park's more memorable outrages behind, he and screenwriter Mark Protosevich find one or two ways to up the taboo-testing ante, small surprises that retain the tale's edge without pushing into the realm of exploitation.

Despite the story's elements of suspense, loss and determination, though, the picture has a mundane, low-stakes vibe that fails to make the most of its inspirational content.

Generates a fair amount of tension and produces the kind of nationalistic outrage that rock-ribbed Americans will feel in their guts.

Turns out to be something like a comic riff on "Training Day." Leaning more toward Hart's brand of slightly raunchy humor rather than Ice Cube's equally popular family-friendly fare, the PG-13 film exhibits broad appeal.

Proves lightly entertaining in spite of its more heartfelt tendencies.

The minor-key film benefits from Robert Carlyle's soulful performance in the central role, bouncing back and forth between dulled resignation and self-destructive anger.

The film constantly toys with the expectations of both its characters and the audience, transforming a classic three-way tale of mistaken identities into something much more mysterious and troubling.

Patrick McGrady's documentary strains to reconcile its conflicting moods, but Fry's gushing enthusiasm for the subject is ultimately if sometimes queasily infectious.

The winning performances by its two leads elevate this contrived Israeli import.

Few would fail to be touched by these stories, or by the sight of these men having generations of kids and grandkids gather to celebrate their accomplishment.

Yelling to the Sky drips with a strange but sometimes moving nostalgia for environs its characters clearly want to escape.

Feel-good documentary gathers great interviews but isn't sure what they add up to.

Ultimately A Bottle in the Gaza Sea adds little insight into a conflict that has already inspired several powerful dramas, such as the recent "The Other Son," and is sadly likely to be the subject of many more.

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 filmmakers do fall into the trap of overly sentimentalizing a widely beloved public figure who represents an enormous cultural significance. At the same time, however, they keep the movie frequently engaging.

Inspiring if not inspired, Lee Daniels' The Butler is a sort of Readers' Digest overview of the 20th century American civil rights movement centered on an ordinary individual with an extraordinary perspective.

A bizarre and baroque meditation on death, memory and the passage of time that ranks among the director’s more cryptic works (of which there are several in his whopping 100+ feature filmography), though it does offer up a few pleasurable moments.

Aside from some uneven handling of the cast, Ball competently styles the action sequences throughout the film and capitalizes on his VFX expertise with pulse-pounding scenes tracking the Runners through the Maze battling Grievers.

While its mixture of cinematic styles is awkward more often than not, Girl Rising deserves points for at least trying something different rather than relying on the bone-dry, academic approach usually employed for such informational ventures.

Delivering visual drama and understated character study, sometimes in disappointingly formulaic fashion, the feature has its incisive moments but falls short as both epic and intimate portrait.

Coppola’s attitude toward her subject seems equivocal, uncertain; there is perhaps a smidgen of social commentary, but she seems far too at home in the world she depicts to offer a rewarding critique of it.

The Source does hold enough anthropological value to please some audiences. Despite lacking the recognition factor and lurid tragedy of a phenomenon like Jonestown, the story should attract viewers on the small screen.

Diverting but not enough to expand Kevin Hart's fan base much.

Tale of the Cultural Revolution is strictly for scholars and students.