The dark and sometimes funny The D Train is a feel-bad comedy, in that one feels bad for what happens to every character in the film and bad for sometimes being taken to places that feel more implausible than just transgressive.

performances from Saoirse Ronan and Cynthia Nixon keep Stockholm, Pennsylvania intense and absorbing, but Nicole Beckwith's initial impulse to tell her confinement story as a stage play feels as if it might have been a sounder choice.

A potentially fun premise soon turns into no fun at all in Cop Car, a seriously imagination-challenged low-end action thriller.

There’s a sense that the goings-on are more quirky than comical.

Despite a number of trenchant scenes and some startling depictions of sexual degradation, the film has little that's particularly original or enlightening to say about living with a chemical, genetic or emotional imbalance, making its primary function as a showcase for the lead actress to stretch her range.

A film that flirts and flirts with explanations for its action without ever delivering.

Despite its sharp visuals and evocative sense of place, the unevenly acted film never quite builds enough atmospheric dread to distract from its characters' somewhat implausible behavior.

Despite an appealing cast, though, neither comedy nor suspense really takes flight until very near the end, largely due to a script that isn't equal to the filmmakers' enthusiasm.

Mad as Hell is far too subjective to take seriously.

Even if the film does manage to reveal the splendor of each voyage, it tends to lose its characters in the landscape.

Although distinguished by some wildly staged vehicular chase sequences and genuinely witty deadpan dialogue, the film inevitably feels like a footnote to the plethora of similarly themed movies and television shows that seem to arrive on a weekly basis.

Ejecta is ultimately too disjointed and incoherent to have the desired impact. But it certainly features some arresting moments during its wild ride.

The film mostly grasps for unearned emotions.

If Chambermaid lacks the dramatic push to carry it through to the end, Seydoux’s performance remains robust and engaging throughout.

The awkwardly titled Every Thing Will Be Fine seems more like a showcase for expressive camerawork pushing the limits of cinematography than anything else. Actors the caliber of James Franco and Charlotte Gainsbourg get the short end of the stick in this angst-ridden drama.

While this effort directed and co-scripted by Georgina Garcia Riedel lacks true comic inspiration, it provides some genial laughs along the way.

Intermittently amusing but rarely as funny as it wants to be.

Stone’s direction is measured, methodical, and totally lacking in the fire and flamboyance that sometimes electrified and sometimes ruined his earlier films. The story moves along without any real sense of urgency or suspense.

Stacey Menear's screenplay doesn't manage to sustain its clever premise, with the final act featuring a banal and formulaic revelation that unfortunately takes what had been a spooky haunted house tale into familiar slasher movie territory.

A compelling and little-known story of the Civil War period is studiously reduced to a dry and cautious history lesson in Free State of Jones.

Mike and Dave Need Wedding Dates rates medium on the grossness scale (an all-body, pre-marital naked-Indian-guru-administered massage for the bride with a happy ending, anyone?), and pretty high in crude talk. But it's kind of a dud when it comes to endurance and imaginative moves.

The Squeeze is bound to appeal to aficionados of the sport. But despite the fact that it's (loosely) based on a true story, it fares less well in dramatic terms.

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.

Cooper can do this kind of arrogant-but-irresistible golden boy shtick in his sleep, but that doesn't make it any less pleasurable to watch. Flashing his baby blues and a fiery temper, the actor gives a fully engaged performance that almost makes us want to forgive the movie’s laziness. Almost.

Earnest to a fault and soft-edged in its approach to faith (God is more in the margins here than he is a central, narrative-driving presence), yet direct and moving in some scene-by-scene specifics because of their basis in reality.

The essence of what made the man inspiring to so many — it's not the winning, but the effort that's important — comes through with gonglike clarity in Dexter Fletcher's film, a straight-down-the-ramp sports tale that plays to the average man's dreams of momentary greatness.

It's historically accurate, since Electric Slide is set in 1983, but it only emphasizes the hollow emptiness of this faux New Wave-style crime drama that emphasizes style over substance to an enervating degree.

Except for the fact that virtually every shot, chop or stab the good guys make hits its mark to make the bad guys quickly drop like toy soldiers, the climactic showdown delivers what it needs to action-wise, leading to a satisfactory wrap-up.