Just as one should be wary of tobacco-safety data produced with tobacco-industry money, skeptical audiences will have a hard time putting too much stock in a doc so strongly aligned with vape entrepreneurs.

A horror film that relies on a silent child to adequately convey terror is starting off with a significant handicap, one that The Unspoken never manages to overcome.

Jack's Apocalypse holds few rewards.

As our encounters with him continue, it becomes clear that Stroman — whose early life nearly guaranteed problems ahead — evolved dramatically behind bars, and that his remorse for his crimes is sincere.

The beauty of the feature lies in its ability to stir the imagination with eerie, resonant hand-drawn animation.

You've Been Trumped Too is a mostly unnecessary sequel that spends much of its brief running time rehashing distressingly familiar news footage about Trump's campaign.

What is admirable about Ivory Game is that it recognizes the complexity of the issues.

Despite the iffy script, two of the film’s performances pack a punch.

Transfixing in its workplace detail and haunting in its harsh commentary on a solitary existence.

[An] empty ponderousness suffocating the film.

An affecting brainteaser with echoes of Lynchian dissociation.

I Am the Pretty Thing That Lives in the House is a lightly gothic murder ballad made with great finesse and a fine cast.

It’s all about metaphor and mood, while the storytelling is so lightweight it might not exist. Without it, this drunken boat sailing on poetry can't hold interest for its entire two hour running time.

To his credit, director Scott Derrickson...navigates through the different zones with a fair degree of actual coherence, and delivers the entire package with evident ease and some flair.

Loaded with dark humor, Bates’ script faces considerable challenges developing sympathetic characters.

It Had to Be You ultimately demonstrates enough cleverness and inventiveness to make it more than a by-the-book entry in a genre that's become more than a little stale.

More succinct writing and tighter editing could have yielded a solid B picture.

This timely film makes for highly compelling viewing and demands to be seen.

Many Christians yearning for faith-based entertainment will be moved by this film, and that crowd may well ensure a profit for the production. But more picky viewers will admit that even taken solely as an exploration of the trials of being a Christian teen, it's awfully weak tea as a movie, instantly disposable if not for the tragic backdrop.

It is a searing and topical indictment of racial prejudice and hatred in America that makes for uneasy viewing and is not easily forgotten.

Unassuming but warm and thoroughly involving.

National Bird hardly offers any counterpoint to the arguments presented, nor does it attempt to show how drones could possibly save the lives of U.S. soldiers either on the ground or in the air. But it does reveal a program whose international reach and seemingly limitless surveillance powers are extraordinarily difficult to keep in check.

Strong performances propel a movie that wears its influences (De Palma, Lynch) on its sleeve without feeling like a copycat.

Although there's a long cinematic tradition of mixing comedy with scares to excellent effect — Abbott and Costello Meet Frankenstein being a prime example — this lackluster effort manages to be neither funny nor scary.

While those of us who've seen dozens of similar docs could name plenty that taught or moved or enraged us more, Flood's filmmakers are intelligent in their use of the biggest asset they have: Not only do they keep their movie star onscreen, they work hard to tie viewers' concern for the environment up with his biography.

It might be sacrilege to suggest that Herzog could use a more strong-willed collaborator, but this film sometimes turns into a rather misshapen cinematic essay. Nevertheless, you won’t be sorry to witness the apocalyptic images of nature blazing and roaring.

Hong has a distinctive voice and an interesting track record, but his latest exercise in flimsy whimsy is for indulgent hardcore fans only.

A small, sympathetic story of a teenage girl’s rough coming out is smothered by a pile of far-fetched melodrama, a loathsomely obnoxious male lead character and far too much unsteadicam visual randomness in First Girl I Loved.