While this near two-hour feature debut does betray occasional signs of inexperience, on the whole it's a work of striking confidence.

While the film plays strongly as both mystery and haunted love story, Bush also gets plenty of mileage simply from the drama of one man's attitude toward himself, if such a thing even exists.

Has sturdy production values, a tony cast and middlebrow tastefulness up the wazoo, but barely any soul, bite or genuine passion.

Eva is a provocative and engrossing effort that, although trafficking in familiar themes, is a notable addition to the timeworn genre.

There’s no question that the feature is a leaner, meaner affair than its predecessor. That’s not enough, though, to counterbalance the often oppressive self-seriousness (though Miles Teller gives it a welcome shot) or to plaster over the holes in the premise.

It helps immeasurably that Gainsbourg, as an actress, is as intense as her presence feels evanescent, always seemingly onto the next moment already, leaving everyone in her wake.

The story keeps everyone in motion all night long, and frantically so, to the point that it could easily have been titled Non-Stop 2.

The kind of blithely confident, creatively impoverished dud that leaves you slightly stunned someone greenlit it, the movie has the distinction of feeling like a bad idea from its very first frames.

The spectacle of a dissolute hedonist suddenly acquiring a heart and a conscience late in life is shamelessly, and shamefully, contrived in its emotional trajectory.

Director Tim Johnson (DreamWorks’ Antz) and writing team of Tom J. Astle and Matt Ember (Epic), keep the momentum humming and the amusing bits reasonably entertaining, but they can’t vanquish the prevailing feeling of deja vu, and that the Boov are merely Minions of a different hue.

Ripe, borderline hammy turns from Javier Bardem, Ray Winstone, Idris Elba and Mark Rylance add some spice.

While most likely to appeal primarily to the comic's die-hard fans — and there are still plenty of them these days, thanks to his hugely popular podcast — Road Hard offers genuine laughs while displaying real heart along the way.

By the time the relatively brief but seemingly interminable proceedings reach their conclusion, viewers may feel like they've been held hostage themselves.

With unappealing one-note characters, retread concepts and implausible motivations, Chappie is a further downward step for director Neill Blomkamp.

Unfinished Business is the cinematic equivalent of sub-par fast food (think Carl’s Jr. or Jack in the Box); it’s cheap, easy and maybe even tasty for a second or two, but leaves you feeling queasy and undernourished.

The film navigates an abrupt turn when it explores an elaborate untruth in the subject's own life. But while that shift could have been smoother and its conclusions more coherent, this is nonetheless intriguing stuff.

Though heavy-handed in places, The Mafia Only Kills in Summer is a generally charming and engrossing debut feature.

The film is most successful when it concentrates on its subject’s personal life. His candor in discussing his sexuality and other subjects is endlessly refreshing in this era when politicians are mostly defined by their timidity.

Boy Meets Girl is a funny and touching comedy/drama boasting a superlative debut performance by Michelle Hendley.

This intriguing if hardly revelatory account offers some provocative moments, even if the personal access doesn't really add very much.

A shocking but ultimately galvanizing work of reportage that meets the same high standard of their previous collaboration, The Invisible War.

Karim Ainouz has always been more attentive as a filmmaker to the creation of atmospheric and emotional texture than to story or character, and that bias inhibits this visually seductive drama from fully engaging beyond the aesthetic level.

Despite an appealing cast, though, neither comedy nor suspense really takes flight until very near the end, largely due to a script that isn't equal to the filmmakers' enthusiasm.

Ejecta is ultimately too disjointed and incoherent to have the desired impact. But it certainly features some arresting moments during its wild ride.

Campillo thankfully refrains from offering on-the-nose explications for behavior and decisions, instead letting audiences infer psychology and motivation from on-screen behavior, with the entirely naturalistic performances of Raboudin and Emelyanov beautifully tuned in to each other and the material.

The Point Break-style plotline is merely an excuse for an endless series of scenes showing off the parkour practitioners in action.

While this effort directed and co-scripted by Georgina Garcia Riedel lacks true comic inspiration, it provides some genial laughs along the way.

This film complements rather than duplicating the recent fest title "Butterfly Girl," which also refused to settle for generic notions of bravery and endurance to hone in on an individual teen's specific experience of illness.