Feig's commitment to the genre, and some truly wonderful set pieces, make Spy as lovable as its main character.

A protagonist of stunted emotional growth is simply assumed from Apatow at this stage, but Schumer’s perspective and voice translates to a wealth of gags that breathe new life into the idea.

Cacophonous, gratuitous, and peppered with absolutely outstanding action sequences, Furious 7 finds the franchise at an unwanted crossroads, but it makes such a play for the diehard fans that it leaves everyone else at somewhat of a loss.

There are a thousand stories to be told in the studios where these session players cut some of the greatest records of all time, which makes it disappointing that there isn't more to be found in the documentary The Wrecking Crew.

For those willing to invest in the lives of these characters, even if the framework around them directly and without apology guides them toward inevitable tragedy, they will experience a drama of deep, genuine feeling.

A film that double-underlines the fact that Collet-Serra knows exactly what to do with Neeson's on-screen persona in what is ultimately their most satisfying film yet.

Erlingsson has delivered an attractive slice of Icelandic oddness that confirms many of the cliches about that country’s offbeat outlook, but in a good way.

Big Game comes away with the distinction of being watchably terrible. There is a certain ridiculousness that is engaging, but this shouldn't be confused for merit.

Marfa Girl is not going to convince Clark’s detractors, nor will it disappoint his fans, as most of what people consider his trademarks are in place.

Unfinished Business is the type of movie that is so awful that as it rolls along (its 91-minute runtime feels agonizing) you get more and more restless.

Uninspired films utilizing cinematic devices that felt old decades ago are a regrettable part of the cinematic viewing experience, and The Forger squarely falls into this category.

The idea of turning a true crime story into a intellectual cinematic exercise is novel, and could be witty and sharp, but 'Angel' never comes across that way.

Seedy, unsettling and nightmarish, director Gerard Johnson crafts a suspenseful and anxious journey despite the destination pointing to obvious points well known.

Smith, Nighy, and Dench aren’t delivering audacious, reaching performances here, but there’s still plenty of charm and authenticity.

The film's own spin toward a liberal audience means it chokes into ineffectuality when it tries to take a less ironic and more active stance on society's biggest current white whale, because the persuasive sermon it preaches, it preaches exclusively to the choir.

Between the charming Copley performance, the ingenious visuals, the absolutely incredible all-electronic Hans Zimmer score (seriously, this is one of his best ever), and the propulsive narrative thrust (Blomkamp is rarely singled out for how swiftly he moves things along, plot holes be damned), there is a lot to appreciate and even love about Chappie.

Kidnapping Mr. Heineken never conveys how a bunch of working stiffs transformed themselves into a coiled — if scrappy and ragtag — criminal operation.

It’s a curious, infuriating and haunting tale, and an accomplishment of documentary filmmaking.

Bringing someone back from the dead is one of the horror genre's oldest and most effective tropes, but with The Lazarus Effect, it just seems tired.

Focus only works if the balance of ingredients is right, and from the cast, Ficarra and Requa get everything they need.

If Playing It Cool is meant to be an ironic interpretation of what happens to these characters, the film isn't sharp, smart or insightful enough about how actual humans interact to pull it off.

‘71 is more than just a performance showcase, delivering a gripping, at times almost unbearably tense, incredibly involving anti-war statement, made the stronger for being set against the less cinematically familiar backdrop of Belfast in the year 1971.

A terrifically solid and sturdy effort across the board, Bluebird is the real deal and a true package of strong collaborators coalescing to make a wonderful debut film.

Tracking the rise of each fighter, Champs underscores the incredible skill, talent and fortitude each had on their way to the top, however it never shies away from pointing out the systemic failures that let them down.

None of this would be as funny if it was done by anyone other than Wiig, who has never been funnier. Her crass, narcissistic, capricious Alice is her greatest creation.

Well-intentioned and intimate, Alex Of Venice has its heart in the right place; its pains and struggles might be small stakes and personal, but they’re very genuine, relatable and universal. There’s a lot to admire, which is why the movie’s uneven grasp of narrative fundamentals is so frustrating.

It's an ambitious attempt to meld the kind of social realism that made the names of Andrea Arnold and Clio Barnard with a stripped-down genre thriller, an attempt that's only moderately successful, though it suggests Wolfe is a filmmaker of real promise.

Young Bodies Heal Quickly is a haunting film, mostly because the title remains forever in doubt.