Leonard and Foley offer enough semi-naked sex scenes here to prove that quantity is no substitute for chemistry.

Amateurish on many levels and at some point seeming to have been made up on the spot (which would be quite a feat for animation), the collaboration between directors Thorbjorn Christoffersen and Stefan Fjeldmark is a strong contender for the year's worst film, and not in a fun way.

The writing/directing debut of Minhal Baig enlists experienced actors but has little idea what to do with them, making a hash of its intended meditation on the compromises required by long-term relationships.

Viewers who don't mind the lack of dramatic tension may appreciate Dorff's credible take on his modest, gentlemanly character.

The movie is well acted and mostly absorbing, but it spells out everything so painstakingly that there's zero room for subtext.

Over-produced and under-thought-out, this unconscionably elaborate attempt at an old-fashioned Gothic thriller looks great but is beyond silly.

Once again, Reeves does not disappoint, fully inhabiting Wick by channeling his rage over life’s injustices into an intensely focused performance.

If it had skipped the clichéd supernatural elements to instead concentrate on the relationship between the two central characters, Don’t Knock Twice might have emerged as an interesting film.

A good-natured cross-cultural romp in which you can barely be expected to take any human interaction seriously, save for those in which humans smack up against each other with force.

The film handles its admittedly familiar themes in uncommonly sensitive fashion.

A fascinating if uneven portrait.

Kedi eloquently taps into the mutual attraction between the cats and their people, as well as the animals’ complexity and resilience.

Although there is still much to enjoy here, this DC Comics-fueled Lego adventure fails to clear the creative bar so energetically raised by co-directors and writers Phil Lord and Christopher Miller back in 2014.

The film raises more troubling questions than it answers, but it's fascinating throughout nonetheless.

There is not a lot of risk-taking involved in the visual storytelling or in trying to find a cinematic equivalent of the novel’s style, making In Dubious Battle a rather classical period piece for the most part, though one with at least one very solid performance at its center.

Rings finds a couple of nice, if inconsequential, little chills.

Things get a bit busier than this modest film requires, but rural languor prevails in the end — if not with the "grace" of the title, at least with forgiveness.

Kyle Mooney (a longtime McCary collaborator on Saturday Night Live and elsewhere) is winning in the lead role, naive but not cartoonishly so in a film that walks a fine line, credibility-wise.

A deeply unpromising debut horror flick by visual-effects veteran Robert Legato.

Strikingly shot, edited and scored, with convincing and vivid performances from a youthful cast, the picture loses its footing in the final stretch but should still take high rank among U.S. debuts of its ilk this year

As a sympathetic look at two likeable lovers who don't know what's good for them, it's enough to give us a rooting interest — even if we're rooting for the two protagonists to accept the consequences of their mistakes and move on.

That the film works to the extent that it does is a testament to Murphy’s ability to command the screen with stillness. His anguished expressions and halting body language go a long way toward filling in the frustrating narrative blanks.

What the film doesn’t have is anything resembling a compelling narrative.

Combining its adventure and romantic plotlines in painfully hokey fashion, The Space Between Us (the title is a pun, get it?) is so ludicrous that only a cinematic stylist might have been able to pull it off.

By the time Left on Purpose reaches its conclusion, it has delivered a powerful examination of the debilitating effect of clinical depression and raised disturbing questions about the right to take one's own life.

The Demon Strikes Back soldiers loudly along, alternating between high-octane, digitally enhanced skirmishes and the equally cacophonic bickering between the monk and the monkey.

Beyond its message, however, and despite some unfortunate omissions in the history it recounts, the film succeeds as one of the most gripping and suspenseful docs of recent years.

Even though this feature debut for director Matt Spicer, who co-wrote the script with David Branson Smith, is sort of all over the place, it’s still often sharply amusing, crisply assembled and features game, broad-brushstroke performances from leads Aubrey Plaza and Elizabeth Olsen.