The proceedings are largely engrossing and the performances are mostly excellent, with especially strong turns by the female leads.

Thomas’ direction, especially of the villainous roles, gives a lot of the action a self-conscious, not-quite-real quality. Some aspects of the movie’s intentional artifice work better than others.

Though convincing in its argument that pimps and clients are treated much better than they should be in our legal system as compared to prostitutes, the film presents a picture of America's sex-trade landscape that will feel incomplete to many viewers.

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.

Blue Ruin is a talented but sophomoric low-budgeter that straddles the divide between genre thriller and art piece with mixed results.

Though it begs for a little lightening up, a moment of irony, a wink at the audience, this dead-serious fairy tale about a mysterious young woman (and a phantom automaton straight out of Hugo) is worth watching for Geoffrey Rush’s sensitive, never pandering performance.

Young actor Sitthiphon Disamoe helps keep the tale of a can-do kid from becoming too cute.

No movie with such a limp ending can be fully satisfying, and the beginning also falters. But the long middle section is a rousing good show.

At its playful best, the screenplay by Chris Bowman, Hubbel Palmer and Emily Spivey sends up crime-movie clichés with a light touch, and Hess shows uncharacteristic restraint in letting those moments play out without reaching for punchlines.

A lazy ending mars this fine, if generic, take on a much-loved YA novel.

Strip away the Middle East backdrop and Bethlehem is a fairly routine thriller about good cops, corrupt bureaucrats and armed criminal gangs.

The story is rich in juicy anecdotes and epochal events, even if the man behind these striking images remains a little too elusive throughout.

Nelson's amiable comedy occasionally gets fixated on things that don't serve its overall purpose and is too self-conscious to really shine. But it's a more competent, accessible film than its stealthy theatrical release suggests.

Rodrigo H. Vila’s documentary about the famed Argentine singer and political activist suffers from its overly insular and hagiographic perspective, but in its best moments it well illustrates the reasons for her musical influence and social importance.

Creadon's doc benefits substantially from these kids, resulting in a film with modest commercial appeal that should have a healthy video afterlife with activism-minded students in college and graduate programs.

This plot-heavy suspense flick loses some of the book’s originality in translation while failing to channel its sense of Midwestern malaise. But it keeps the guessing game going long enough to compensate for some otherwise shallow characterizations, while Theron offers up an earnest and downbeat turn that says a lot with little dialogue

This is a dish that has been prepared over a low heat for a long time, which makes for some pretty slow-going early on.

Cronenberg assumes a distinctly clinical approach to the emotional, social and business shenanigans on display here, a perspective that has brilliantly served some of his overtly psychological, horror and sci-fi pieces but gives this one a brittle and airless feel.

The performances are all sincere and solid and the situation is easy to respond to emotionally. But as a case history in the annals of political repression, it feels like a bit of a side show.

Goold's work never feels stagey; a smart and varied visual sense opens up even settings as basic as a jail's visiting room. But what happens in that room isn't as convincing as might be expected from these actors.

A likeable cast of relative newcomers buoys the film, which never quite finds the sweet spot.

Rose-tinted as the film’s perspective may be, Ping Pong Summer is still a lingering, entertaining glance back at an era that Americans just can’t seem to get enough of, whether in music or movies.

While the personalities engage the viewer, the film's story is a diffuse one.

A feel-good picture that is a little less affecting than it might have been, but is entertaining enough.

Though well put together -- it keeps up the interest throughout and offers much food for thought -- the film lacks the authentically unsettling note that would have made it stand out.

A likeable if familiar underdog tale.

Creepy enough to get the job done, but not sufficiently extreme to fulfill the initial setup.

The film, which feels attenuated despite its brief running time, doesn’t dig deep enough to provide more than an impressionistic portrait.