This effort offers some mild amusement but lacks the anarchic wit to make it anything more than a slight diversion.

Suffering from tonal inconsistency and all-too-familiar thematic elements, as well as an absurd framing device whose logic is not even consistently maintained, Locker 13 hardly deserves being opened.

Patterns emerge by virtue of repetition.

Under Saldanha's guidance, an extensive team of animators and visual effects artists elevates the 3D format to an alluring level, with character details, dense background imagery and often complex action and aerial sequences (including a requisite Busby Berkeley-inspired musical number) appearing effortlessly executed.

Carbone's script doesn't tell a story so much as watch the fluctuations in emotional energy here, quietly observing activities both directly and indirectly related to the loss. As a director he's patient but never sluggish, taking time to appreciate the still landscapes his characters move through.

This film neither really embraces the mechanics of primitive cinema nor creates a coherent syntax of its own.

Less a rock-doc than a surprisingly affecting look at sibling dynamics in a creative family where one brother is vastly more successful than the other.

Cory Monteith in one of his last screen roles may be the best thing going for McCanick, a tired cop drama that recycles predictable narrative elements almost to the point of meaninglessness and then substitutes wildly improbable developments in place of actual originality.

Though it doesn't quite hit the target, Plotnick's vision of the future of the past is peculiar enough to resist quick dismissal.

The film has entertaining moments, but these are clearly secondary to its proselytizing intentions.

Beguiling in its strangeness, yet also effortlessly evoking recognizable emotions such as loneliness and the feeling of being stuck in a dead-end town and life, this moody and gorgeous film is finally more about atmosphere and emotions than narrative -- and none the worse for it.

Darren Aronofsky wrestles one of scripture's most primal stories to the ground and extracts something vital and audacious, while also pushing some aggressive environmentalism, in Noah.

For sheer plotting and audience involvement, this is a notch above any of the other Avengers-feeding Marvel entries, the one that feels most like a real movie rather than a production line of ooh-and-ahh moments for fanboys.

This low-rent, convoluted tale about a young woman returning home to solve the mystery of her mother’s violent death is amateurish to the extreme.

Despite the affecting performances by the two leads, this overly muted drama fails to make much of an impact.

So much better than one would expect for a fifth installment in a franchise, this tribute to female friendship and girl power is a kick.

Featuring generous doses of raucous humor as well as a haunting atmosphere of dread as Tommy and Rosie’s exploits prove increasingly dangerous, Rob the Mob is a true-crime tale that boasts an uncommon emotional resonance.

This intelligent and comprehensive documentary not only conveys the genuine nature of Hill herself, but also recreates the national sensibility of the time, an era when sexual harassment in the workplace was not yet a national concern.

Some years from now, Starred Up, a rough, violent and, to American ears, half-indecipherable British prison drama, will be remembered as the film that announced a new star, Jack O’Connell.

Meyer and Luke Matheny's script is full of the kind of nit-picky detail one hears when birders converse, and milks some life lessons out of philosophical differences between "listers" and "watchers."

Revealing tour doc showcases a quick wit and a bruised soul.

This is the rare film that would actually seem even creepier watched from home on your computer, preferably alone to enhance its voyeuristic effect.

Quai d’Orsay zips along at a good clip and benefits from the gruffly benevolent gravity of Arestrup, which offsets the machine-gun pace set by Lhermitte.

Sadly believable and benefiting from an unshowy performance by first-timer Gina Piersanti, it will have many viewers eager to see what Hittman does next.

The film's impact is greatly enhanced by the superb performances by the young lead actors who handle their characters’ complexities with impressive skill.

Frost is a likable lead and an easy rooting interest. But his affability isn’t enough to give this silly-sweet feature the edge and dimension that would make it a memorable contribution to the subgenre epitomized by The Full Monty — comedies in which middle-aged, unassuming Brits discover their inner showman.

Director Neil Burger struggles to fuse philosophy, awkward romance and brutal action. Even with star Shailene Woodley delivering the requisite toughness and magnetism, the clunky result is almost unrelentingly grim.

The film’s beauty lies in its carefully observed details and the larger story’s got nowhere particularly surprising to go.