The overall result remains quite light, is occasionally funny but finally never manages to probe very deeply.

Even though the evil impulses of the villains feel rote and arbitrary, The Equalizer 2 is not without its pleasures.

Exerting significant control over the film – from a screenplay filled with modern resonance to very effective production design – Lee just barely manages to overcome the jarring problem posed by its (mugging) American cast.

A good-looking debut offering more atmosphere than action.

Diez's effects teams have tremendous fun with the gory ways they tear through their hosts' bodies when it's time to leave the chrysalis behind.

To use what, under the circumstances, is a far too convenient metaphor, Bay is interested in accelerating from zero to 100 as quickly as possible and then maintaining speed, rather than skillfully shifting gears and adjusting speeds based on curves, hills and road conditions. In this case, he gets you there, but you know the ride could have been a lot more varied and nuanced.

This B-movie, reminiscent of '70s era grindhouse fare, is a reasonably proficient and professional debut that fulfills its modest aspirations.

Sanga establishes the film’s offbeat style by frequently relying on Kieslowski’s quirky voiceover to frame events, a technique that boosts the effectiveness of characterization but somewhat diminishes the impact of plot developments.

Stylish but slight, Arnby's debut feature ultimately sticks within werewolf movie conventions, adding little fresh to the form.

For a younger generation who think that Madonna and Lady Gaga represent the heights of outrageousness, The Outrageous Sophie Tucker stands as a much needed reminder that they have a very large debt to pay.

If the resulting drama, Stonewall, seldom escapes its cliches or cookie-cutter characters, it also recounts a political origin story in relatable, often affecting terms.

Director David Gordon Green’s latest unpredictable addition to his resume is offbeat and appealing on some levels but is neither as funny nor as trenchant as it might have been.

The film boasts enough manic energy and straight-up weirdness to keep you entertained before overstaying its welcome in the final act.

While the director unleashes his taut action sequences like clockwork, he's less deft in handling the characterizations and the decade-leaping plot, which seems designed to provide the film with some historical weight.

Rosenwald is not always successful in doing full justice to its rich subject matter, suffering from pacing problems and occasionally feeling drawn-out in its feature-length running time.... But it certainly deserves kudos for bringing long overdue attention to this unsung figure whose life was one big mitzvah.

Norm of the North is mildly diverting, although Pixar needn't be overly concerned.

Bringing good old-fashioned Mediterranean emotion to a screenplay that feels oh so familiar, this modern-day weepie unapologetically plays to the crowd rather than the critics.

An enjoyable entry into the swelling ranks of corrupt-the-youth comedies.

Solid and informative... the affectionate film benefits from plenty of face time with its frank, amiably plain-vanilla subject.

From a sensory point of view, the film is a pleasure, the images having been manipulated in various ways to evocative effect, Anderson’s voiceovers proving more amusing than not, and the music taking mostly lively turns.

The film feels empty and intellectualized at the core, where it should feel powerfully emotional.

Owens’ triumph is long overdue for big-screen treatment, and director Stephen Hopkins delivers stirring moments amid the tension-free stretches, particularly once the action moves to Berlin.

Sweaty Betty has a likable quality and an obvious affection for its subjects who maintain a resolute cheerfulness throughout their struggles. But it's hard not to wish that the shambling material had been constructed into a more cohesive whole.

It’s unfortunate that Light feels both too traditional and too concerned with showcasing life behind the music, instead of trying to explain why Williams was one of the greatest American musicians of the last century.

Whatever nuance can be found in Front Cover, the story of an openly gay fashion stylist and a seemingly homophobic Chinese movie star, belongs chiefly to the performances of Jake Choi and James Chen.

Florence Foster Jenkins is a modestly enjoyable crowd-pleaser, but it ultimately feels smaller than its subject, a deeply conventional portrait of a highly unconventional woman.

Meyer, whose credits include co-directing and co-editing the classic Grey Gardens, largely employs a fly-on-the-wall approach here that sometimes makes for less than compelling viewing. Nonetheless, the film earns points for the importance of its message.

Office is undermined by a simplistic screenplay lacking the nuances and frisson one expects of a cutting-edge satire of a capitalist world propelled by graft and greed.