True to its title, Los Angeles Overnight makes excellent use of its extensive L.A. locations, thankfully foregoing the familiar landmarks that have become cinematic clichés. It's a shame, then, that the film doesn't succeed in its ambition to infuse noir tropes with originality.

Wang’s verite approach attempts to strike a tone somewhere between revealing and contemplative, but her principal subjects are too young and inexperienced with the world to have much of import to say.

Brandishing impressively packed abs and enough upper body strength to pull herself out of countless jams, Alicia Vikander gamely steps into the kick-ass role twice played by Angelina Jolie, but the derivative story and cardboard supporting characters are straight out of 1930s movie serials.

It’s a decent concept for any sort of movie – a thriller, a horror flick, a comedy – but the problem here is that writer-director Joe Martin never quite decides which one he wants to make.

Keep the Change acknowledges that people with disabilities can sometimes be largely responsible for the biggest problems they face, just like the rest of us — and it doesn't need to be Pollyannaish to believe those problems are solvable.

Although well made and acted, the real question surrounding this microscopic look at men enduring the severe pressure of trench warfare is what relevance it may have for a modern audience. The answer is, probably not much.

Playful, irreverent and unafraid to be politically incorrect, the pair script with assurance and direct with stylish understatement, pairing character and physical comedy to entertaining effect.

A rollicking adventure through worlds both bleak and fantastic, Steven Spielberg's Ready Player One makes big changes to the specifics and structure of Ernest Cline's best-selling novel but keeps the spirit and level-up thrills intact.

It plays to the strengths of its performers, from screen novices to the comic vet of the cast, Leslie Mann, who may never have had this good a showcase.

A terrifying thriller with a surprisingly warm heart, John Krasinski's A Quiet Place is a monster-movie allegory for parenting in a world gone very, very wrong.

James McAvoy and Alicia Vikander make a photogenic pair in this sometimes sweepingly romantic film, the most roundly satisfying fiction feature Wenders has made since, well, that first one about the angel so in love he gives up immortality.

A documentary that, like its subject, Supreme Court Justice Ruth Bader Ginsburg is eminently sober, well-mannered, highly intelligent, scrupulous and just a teeny-weeny bit reassuringly dull.

Merging standard gangster movie clichés of both the Japanese and American variety, The Outsider only manages to be ultra-violent and ultra-dull simultaneously.

Juggernaut accumulates an undeniable raw power thanks to such elements as its bleak setting, evocatively captured in Patrick Scola's dark-hued cinematography; the jittery, strings and percussion-heavy musical score by Michelle Osis; and the excellent performances.

Despite its many engaging moments, Itzhak will likely prove frustrating for viewers desiring more information.

Featuring excellent performances by Forest Whitaker as Tutu and Eric Bana as an imprisoned racist government death-squad assassin seeking clemency, The Forgiven tackles its important political and social issues in an overly talky fashion.

A sometimes amusing, sometimes draggy and overstuffed affair that always relies on its talent-rich cast to carry the day.

This is the sort of exasperating horror film that whips audiences into a frenzy. Not because they're having fun, mind you, but rather because the characters behave so stupidly and self-destructively that yelling profanity-laden advice to the screen becomes a bonding exercise.

Only the faintest glimmers of genuine, earned emotion pierce through the layers of intense calculation that encumber Ava DuVernay's A Wrinkle in Time.

The film devastatingly makes clear the extent of Russia's propaganda meddling, which has particular resonance in light of its recent attempts to also interfere with elections and public perceptions in America and Europe.

The director does an excellent job of setting a properly ominous mood, effectively delivering a procession of jump scares that succeed in keeping viewers on edge. Unfortunately, the screenplay by Tarryn-Tanille Prinsloo proves less effective, failing to deepen the characterizations or situations in sufficiently interesting fashion.

Characters come and go quickly, leaving a feeling that there is too much compression of the multi-episode story.

To prepare himself for the big leap back onstage, DiMaggio talks to friends from the New York comedy scene of the ’80s, many of them now household names. Their conversations, filled with smart and spirited observations about showbiz and the business of life, are the heart of this engaging film, and a delight.

England steers his talented young cast in the right direction despite some snafus in his story, and the fine acting is what ultimately brings 1:54 to the finish line.

First-time screenwriters Taylor Allen and Andrew Logan have done their homework in organizing the material but haven’t brought an argument to the table that might have zapped the film to life; everything is methodical, it covers most of the bases, but passion and vitality are crucially missing from director John Curran’s treatment.

A slow burn often works in creep-outs such as this, but here the pacing is a deficit, despite an especially good performance by Harper (of NBC's The Good Place) as the worker whose partner may be turning against him.

Despite many script problems, Levine has kept the film tightly coiled and engrossing throughout.

Eli Roth and screenwriter Joe Carnahan could have done the same thing, manifesting the rages and fears that afflict the country we live in right now. Instead they offer a cheap and dishonest Death Wish that (references to social media notwithstanding) is interchangeable with get-tough knockoffs that have flooded cinemas for decades.