The real crime, rather, is how utterly boring it all is.

This film about family dysfunction and ethical crises never reaches a fully satisfying conclusion.

A drama that struggles to breathe life into its death-themed narrative.

Several respectable actors offer dicey performances here, but Rappaport's screenplay is the real villain, expecting thin references to real-world financial peril to paper over gaping holes in credibility and plain-old drama.

More true to its title than viewers may expect, the doc cares more about underlying principles than the details of any one controversy.

You don’t have to be a follower of Eagles of Death Metal, or even glancingly familiar with their music, to appreciate the emotional power of Hanks’ deeply felt film.

For all its possible precedents, it’s still relatively uncommon to see a film in which actual sex acts are an integral part of the storytelling. Placed right up front like a kind of litmus test for the audience, the sex scenes here are explicit but also unambiguously non-salacious or intended to arouse.

Day's debut succeeds in part thanks to its modest scope, viewing the street-art phenomenon through an attempt to rescue one of its highly perishable creations for the public good.

Worlds Apart doesn’t manage to transcend the forced and familiar-feeling aspects of its multipart narrative, but it does offer an evocative portrait of its troubled milieu, and one of its segments, at least, has genuine emotional resonance.

Starless Dreams (Royahaye Dame Sobh), shot in a juvenile correctional facility for girls under the age of 18, is the perfect example of how powerful simplicity can be, when it’s underpinned by compassion for its subject.

While it becomes slightly padded and repetitious in the eventual reunion of the six surviving dancers, the smartly assembled film makes points that resonate in a world where fame is increasingly ephemeral and life after the celebrity window closes can get awfully cold.

As it is for the two characters for two days, it’s an escape from real life, from anything consequential, a chance to delight in the pleasures that humans can take from what grows in the earth and from an amiable companion’s company.

Martin's Dean is more than funny enough to earn its keep, a gentle misfit tale that only gets baldly therapeutic at the very end.

Never rising above the level of generic B-movie, Sleepless represents the sort of disposable fare typically dropped into theaters in January.

Handsomely packaged, the film unfortunately is also too well-behaved and lacking in psychological depth to really set itself apart from countless other WWII dramas.

Everybody may lack depth, but it often compensates with raucous humor.

This historical account offers an engrossing and accessible celebration of the game’s modern origins, enhanced by striking locations and a standout cast, led by Scottish actors Peter Mullan and Jack Lowden.

Title deploys a fairly effective range of horror techniques, including jump scares, misdirection and some oddly unattractive VFX to ratchet up the tension, although gore is at a minimum.

It’s all about as clichéd and predictable as it sounds, although the proceedings are mildly enjoyable in an old-fashioned, Andy Hardy sort of way.

Speed Sisters is an eye-opening doc that succeeds in its goal of shattering stereotypes.

The constant combination of highbrow and lowbrow elements is undeniably French but also very effective.

The film is often so deterministically plotted that a sense of creative detachment hangs over far too many scenes, leaving an impression that the filmmakers may sometimes be more interested in making grand statements than in engaging interest.

Though there’s clearly a compassionate impulse behind Leon F. Butler’s class-conscious screenplay, it rapidly devolves into implausible melodrama.

Though the film, which lapses at times into repetitiousness, could have been trimmer and sleeker, even non-aficionados will be swept up by its dynamic look at the creative process.

The action is nearly relentless, only occasionally interrupted by humorless, tedious exposition, but despite the freneticism it’s almost all completely boring.

The directors never lose sight of the struggles and the hard work that go along with his calling.

The lineup of fine actors keenly registers minute details about the passage of time with humor, wisdom and a sharp sense of how moments of rash or just misguided behavior can forever dictate a life's path.

German Concentration Camps Factual Survey is a time capsule as much as a direct historical document, showing not only what the Allied Forces found when they first arrived at the Nazi concentration camps but also how the British government of the time thought it was appropriate to communicate about the Nazi atrocities.