Involving and poignant if sometimes less informative than it might be.

The expertly shaped narrative zigs and zags like the most dexterous board rider between Southern California and Hawaii, with detours to Bermuda, Tahiti and briefly to Europe for one particularly amusing daredevil adventure.

Instead of improving on the original's visualization of the liminal state between life and death, director Niels Arden Oplev turns the conceit into just another excuse for rote haunting, making this Flatliners often indistinguishable from its 2017 thriller peers.

As a contrast to Gosling's deliberately deadened, emotionally zoned-out turn, Ford almost single-handedly amps up a film otherwise intentionally drained of character vitality.

It feels like a gift from one outstanding character actor to another, but never one that indulges the thesp at the expense of the film.

Don’t Sleep practically begs audiences to defy its ill-chosen title.

Nowlin’s performance...is a marvel of inner turmoil and physical exertion.

Despite poignant moments, particularly in the performances of Steve Carell and Laurence Fishburne, the weave of somber introspection, rueful reminiscence, irreverent comedy and sociopolitical commentary feels effortful, placing the movie among the less memorable entries in Linklater's canon.

Sensitive performances from the young cast ensure that the story ultimately acquires poignancy, and the arresting physical setting helps disguise the familiarity of some of its coming-of-age signposts.

This is a wondrous and moving account of a remarkable life that puts us right there with Goodall to share directly in her discoveries.

Questions of musical taste (as opposed to hit-savvy reading of the zeitgeist) aside, Soundtrack of Our Lives does offer an informative primer for anyone unfamiliar with the scope of this truly impressive career.

Neatly divided into seven discrete chapters plus prologue and epilogue, it's a necessarily repetitive but engrossing and ultimately optimistic glimpse into a troubled situation entering belated turnaround.

This is certainly an entertaining-enough watch, even for those without much rooting interest in Gaga.

This stylish chamber piece plays like a cross between Ex Machina and The Tree of Life, mixing a cleverly conceived biotechnical fable with sun-dappled sentimentalism that doesn’t always resonate like it should.

Although visually stylish and imaginative — the short bits of animation on display wouldn’t be out of place in a Tim Burton film — Friend Request gets less interesting the more it goes on.

Exhibiting all of the same weaknesses as its predecessor, as well as a fatal lack of originality, this iteration will probably mean the nail in the coffin for this smugly self-regarding series, at least on the theatrical circuit.

Terrifically effective when vividly illustrating the emergency medical procedures necessary to keep a gun victim alive, Shot falls short in terms of narrative. But it will certainly resonate for anyone who’s ever been rushed to a hospital.

Using her own experience with the syndrome as a springboard, Brea offers an affecting film.

By focusing his camera on those “half-men, completely broken” by Habre’s reign and allowing them to tell their stories, Haroun is helping his country to finally mourn its own tragedy, while his warm and understanding approach offers up what feels like a path toward appeasement.

ever Here wears the outer clothes of a crime thriller to cloak a more haunting, disturbing, open-ended rumination on voyeurism and identity.

Despite Anna Schafer’s gripping performance in the lead role, this deeply personal effort is too narratively sluggish to sustain attention.

It's the chemistry between Domhnall Gleeson and newcomer Will Tilston, as the awkwardly matched father and son, that makes the movie more than a mélange of inept parenting and Tigger too.

A perfectly adequate family film for kids who love watching things they've seen many times before (which is to say, most kids), it offers plenty of chuckles for their parents but nothing approaching the glee of that first Lego Movie.

This fleet-footed, glibly imaginative international romp stays on its toes and keeps its wits about it most of the time, with entertaining and pointedly U.S.-friendly cast additions.

Though undistinguished as a piece of moviemaking (its aesthetic is best suited to educational settings), the doc benefits from the spectrum of talent on display.

Both Redford and Fonda are charming, delicate and convincing as Addie Moore and Louis Waters, the couple who find each other at the tail end of their lives. They are directed with sophistication and without a drop of melodrama or sentimentality by Ritesh Batra

A road movie short on comedy and drama should at least offer a keen level of observation, but here insight is scarce and emotional resonance is faint.

Fine performances from a cast of pros generally win out over the story's more formulaic aspects.