Substitute a cat for the bunny (no spoilers here about its fate) and you have the ironically titled, generic thriller The Perfect Guy that somehow wound up on the big screen instead of on Lifetime.

It's certainly a moving tale.... Unfortunately, the film tells the story in the most prosaic fashion imaginable, missing nary a single faith-based film cliché with its one-dimensional noble characters, banal dialogue and requisite sermonizing.

Funny and always on-topic without going overboard, it’s an engaging film.

It’s a unique take on what could otherwise be a morbidly depressing tale of loss and grief, dishing out tons of energy and spats of devilish humor, though not always fitting its numerous parts into a succinct whole.

Director/screenwriter Khalil Sullins makes an auspicious feature debut with his audacious sci-fi thriller that's as engrossing as it is thought-provoking.

With director Jerome Enrico mining the material for only the most obvious gags, the social commentary of the central joke never rises to the level of hard-hitting satire, instead settling on a broadly observed collection of types.

Even if de Jong's command of the shifting styles is inconsistent, the movie has a quirky spirit that makes it easy to enjoy.

Straight history is not the whole point here, as Nelson enthusiastically conjures a sense of what it felt like to be a Panther and to be a young black person inspired by them.

Grippingly depicting the ensuing tensions that constantly threaten to spill over into violence — even while raising discomfiting questions about the scope of First Amendment rights — the film is a nail-biter from start to finish.

Meet the Patels is home movie-style filmmaking at its most boisterously entertaining.

M. Night Shyamalan’s latest is well cast and strong on setting. But the dull thudding that resounds isn’t part of its effective aural design; it’s the ungainly landing of nearly every shock and joke.

Though the story has undergone quite a few changes, what’s intact is the novel’s grittiness and emotional honesty, which more than compensates for the occasional coming-of-age cliche.

The Beauty Inside works for the fantastical, soft focus romance it is.

Though in several ways related to the previous Heimat films, this beautifully shot black-and-white feature is accessible even for those unfamiliar with Reitz’s previous work.

The second installment, which reveals some of the reasons behind their imprisonment, lacks a similar sense of originality and urgency, undercut by overly familiar characterizations and dilatory pacing.

If the movie remains safe, there's no questioning its integrity, or the balance of porcelain vulnerability and strength that Eddie Redmayne brings to the lead role.

[Hardy] proves himself both a gifted visual stylist and an assured storyteller with a wicked grasp of sustained dread.

Overall, it’s a decent shot at a tall target, but real credit is due the lead actors, with Larson expanding beyond the already considerable range she’s previously shown with an exceedingly dimensional performance in a role that calls for running the gamut, and Tremblay always convincing without ever becoming cloying.

The surprise of Suffragette is how much anger and urgency it contains, and how much new material it unearths.

Racing in high gear from start to finish, Danny Boyle’s electric direction tempermentally complements Sorkin’s highly theatrical three-act study.

Tellingly, all of the film’s emotional highlights come from scenes involving the animal rather than the human protagonists and there are only very few scenes in which the two interact in a manner that feels entirely synergetic.

Offers just enough B-movie pleasure to keep genre fans busy for a weekend or two before heading from theaters to vid.

Depp's instinct for observing, underlaying and keeping things in, then letting it all out when required, pays big dividends here in a performance far more convincing than his previous big gangster role, John Dillinger in Michael Mann's Public Enemies; it's unexpected, very welcome at this point in his career, and one of his best.

Genre fans, at least, should be satiated by the copious amount of gore and viscera on display, although whether they'll be hungry enough for the next installment--all too obviously set up for at the conclusion--is another matter.

Easygoing and always likeable but hardly packed with laughs.

A Sinner in Mecca is a suitably messy mix of the gritty and the surreal, the wrenching and the transcendent, from the midst of the trek to Islam’s holiest site.

If you’re going to make an ultra-naturalistic, two-character, walking-and-talking romance that tips its hat to Before Sunrise, the film that began Richard Linklater’s exquisite trilogy, then it’s best to avoid a script loaded with contrived situations and overwritten dialogue.

Meru is an engaging and cumulatively exhilarating debut from wife-and-husband team Elizabeth Chai Vasarhelyi and Jimmy Chin.