Daniel Schechter's Life of Crime starts promisingly and ends with a smile but underwhelms in between.

More pictorially arresting than intellectually coherent.

Dramatically, Child of God is hit or miss; some scenes are ferociously captivating while others are given clumsy handling, almost to the point of indifference.

The unapologetically derivative sci-fi outing doesn’t have the scripting muscle to deliver on its early promise. But the solid cast keeps it reasonably gripping nonetheless.

Hubbell lays the groundwork for a nuts-and-bolts examination of changes over the decades in treatment and teaching techniques. In the present tense, however, the first-person aspect of his documentary can veer toward the cutesy.

Sam Eidson is perfect for the lead role, but that doesn't exactly guarantee the fanboy crowd will embrace the film.

While Hobson's smarts are evident here, the picture's uniformly dim visuals and sometimes overplayed sound design are static enough to do a disservice to his work with the cast.

In a showy adaptation by first-time helmer Charlie Stratton, the story is more glum than seductive -- offering surprising sexual encounters, yes, but too little of the slow burn and psychological depth that might have made the Les Mis-meets-Jim Thompson concept get under one's skin.

The film will frustrate viewers who insist on knowing which interviewees are recounting real experiences and which are perpetuating fictions hatched by the game's creator, Jeff Hull. But mystery is part of the appeal.

The movie is character-driven every step of the way. That’s why, even if the world created by Jones and his talented design collaborators, both old-school physical and cutting-edge digital, isn’t seamlessly believable so much as staggeringly crafted, it casts a spell.

A slight but sweet effort that serves as an excellent showcase for its Mexican star, Jaime Camil. The effortlessly charismatic performer delivers a winning performance in this romantic comedy that somehow manages to work despite its endless contrivances.

Without a strong thematic throughline, Levy relies on a highly episodic structure, letting the subject matter lead him along, rather than shaping the material into a compelling package.

While only sporadically effective in its attempt at creating a modern-day Psycho, Forgetting the Girl does manage to sustain a sufficiently disturbing mood that is not easily forgotten.

The overwritten script has so many subplots it’s hard to keep the stories straight, especially when the ending throws a truly unexpected twist. But little matter; the exceptional tech work gives the film plenty of energy and excitement.

Page's no-regrets spirit and the enraptured testimonials from those who knew her in her prime (including some swooning ex-lovers) overpowers clumsy filmmaking.

Although a rather self-congratulatory air intermittently hangs over the film, the accomplishments of the participants and the popularity of motorcycling speak for themselves, without the need for superfluous commentary.

The script succeeds by expanding the Paranormal Activity mythology with additional details and even a few surprising twists.

Any sense of narrative momentum or intellectual focus quickly unravels as the film evolves into an almost wordless symphony of disconnected images, sounds and music. But the nature-heavy montages are mostly beautiful and bizarre enough to excuse the film’s pretentious excesses.

The film is more impressionistic than informative, lacking the necessary dramatic structure to make it truly compelling.

Enjoyable but incomplete-feeling bio-doc both celebrates the Milius myth and tries to undo the damage it did to his reputation.

While nothing in The Nun feels inspiring or truly groundbreaking, it’s certainly a well-handled package, and the strong performances are abetted by superb technical contributions.

Blair Erickson’s inventive low-budget horror film doesn’t fully live up to its provocative premise, and its extensive use of the found-footage style gives it an all too familiar feel. But it offers some genuine scares along the way, as well as a terrific performance by the ever-reliable Ted Levine.

Although Gregorini is very clear on where her lead characters are coming from, it’s where they’re headed that remains entirely vague, an oversight that leaves them unfortunately adrift.

Live By Night is solid enough entertainment, but it lacks the nasty edge or narrative muscularity to make it memorable.

A dash of showbiz pizzazz has been lost but some welcome emotional depth has been gained in the big-screen version of the still-thriving theatrical smash Jersey Boys.

As a document of the American political process, Caucus offers an intriguing if limited snapshot of a specific campaign season, but lacks either breadth or depth.

Art doc's stylistic quirks detract slightly from a sometimes fascinating portrait.

Frost is a likable lead and an easy rooting interest. But his affability isn’t enough to give this silly-sweet feature the edge and dimension that would make it a memorable contribution to the subgenre epitomized by The Full Monty — comedies in which middle-aged, unassuming Brits discover their inner showman.