For all its bluster, end-of-doom stakes, gravitas and super-seriousness, what Whedon’s movie does best is communicate its concern for the all the human beings touched by this story: the broken, nearly shattered heroes, their extended families and even the civilians caught in the crosshairs.

Aloft and its icy landscapes and feel of gently dropping barometric pressure can only distract so far from what is essentially an overwrought melodrama that here and there tips over into heavy-handedness despite the restrained beauty of its images.

A sour, tedious and derivative film that doesn't just prove disappointing in its own right, it actively makes us resent the first film retroactively for inspiring it.

It's ultimately a convoluted, muddy (both literally and figuratively) and overlong bore that takes an intriguing premise and does absolutely nothing with it.

Throughout, in an approach that gets close to the workers, activists, and more who help the staff at Hot And Crusty, Blotnick and Lears excellently merge the personal and political, but in a manner that never feels like it's proselytizing.

Tiresomely told, uninteresting, and turgid, Electric Slide is as insipid as it gets — a meaningless movie about almost nothing at all.

For a movie that rides on a well-executed, modest and at times playful B-movie engine, the film stumbles in its final third, with goofy plotting... and a turn from the subdued to the hysterical.

While it conjures up a winning swirl of themes, lines and images as it unfurls, one suspects that Schwartzman’s considerable talents are compensating for some core deficiencies.

While perhaps not perfect by Farhadi’s standards, About Elly is a classic tragedy that can be devastating and draining, and in that sense is an immersive, almost emotionally exhaustive experience.

There is enough in 6 Years from Farmiga and Rosenfield’s performances to warrant a watch, and Fidell’s ideas and subtle developments around such a challenging story are heartfelt and mostly well-rendered.

Black Souls is a solid example of the recent string of Italian mob dramas that utilize a somber and reflective tone as opposed to the more flashy and stylized approach of American crime epics.

Unfriended is sometimes a blast to watch and is occasionally funny and unnerving, but by its conclusion it becomes screechy and overwrought.

For its majority, the film is all comedic and political fire, but as its winds down, Timoner rounds it off with a tone of melancholic, tragic inevitability to Brand’s life.

John McNaughton’s return after too many years of absence is a dark look at the nature of overprotective parenthood, and how volatile it can become under particularly difficult circumstances. With that said, you’d do well not to take The Harvest too seriously but more, like its deliciously simple and 70s B-movie horror title suggests, as a wickedly fun time.

At its heart, Raiders! is an underdog story, and as with any underdog story, it becomes even more compelling as the stakes are continually raised against our heroes.

A stunner of a directorial debut.

Katz, with the help of an inspired cast and an emotionally intelligent and mature screenplay, has succeeded in depicting the trials and tribulations of adults who, all for respectfully different yet equally weighty reasons, often make a three-year-old the most mature person in the room.

Dior And I succeeds in bringing this exclusive world down to earth, knitting the viewer with its needles and threads and making a highly relatable story, no matter where you come from or how you feel about fashion.

Though Manos Sucias, like the compelling local songs used to supplement the melancholic mood, often feels like fragments of a picture glued together by a temporary adhesive, the experience will leave you believing that you've just witnessed something very real and, even with its all-too-short running time, still manages to pack quite a punch.

It roars to a bitterly funny pitch every so often, but from the lack of life in the picture and such a stacked cast, you get the sense that the lunch breaks between filming resulted in more adventurous storytelling than the events that made it into the final cut.

In noir, nobody is certified as who they claim to be. Boyle magnifies that aspect with a lean and gripping thriller about isolation, strangers, and the consequences of fame that satisfies despite some minor plot bumps.

While the experiment itself is fascinating, the approach taken by Almereyda in using distractingly peculiar storytelling techniques only succeed in distancing the audience from the film's inspiration.

The acting and the direction shows enough promise to keep it from being buried alive, but it might not be the worst idea to put it out of its misery and ignore it.

If DreamWorks Animation is hoping to get back on track with this movie, a lavish sci-fi comedy based on a recent children's book, they're pretty much doomed.

This is one of those films where the less you know going in, the better. It’s fair to say that some genre elements start to bubble up and then pretty much burst to the surface by the film’s end, all while remaining a romance at heart.

A dumb, loud action movie that aspires to forcibly entertain and provoke thought but fails miserably.

Can't Stand Losing You lacks that sense of the three dimensional when it comes to documenting the band, presenting a sanitized, bird's eye view of their history

The sequel to “Divergent” is the cinematic equivalent of the KFC Famous Bowl: a nutritionally devoid mishmash of elements and past films that somehow manages to be less than the sum of its parts once cobbled together.