Until the final shot, the Zellner Brothers leave unclear whether all of their oddball observations are building to a grand statement about humanity or a punchline. Sasquatch Sunset can accommodate readings of both.

Somewhat spastic and overcooked, Seven Psychopaths might have a few too many.

A crowd-pleaser for sure, Bumblebee can feel a little corny and on-the-nose when it comes to ingratiating itself to the decade and formula it idolizes, but overall, it’s a strong adaptation of what many wanted in the first place: a live-action version of the cherished 1980s animated cartoon.

As a straight-forward thriller, Holy Spider checks off all the boxes that make it an intriguing watch: it maintains a tense tone and has a gripping plot, it transforms into a courtroom drama halfway into its run, and features gritty and stylish visuals.

What makes Phantom Boy unique isn’t the questions it asks, but the way it asks them and the answers it arrives at.

Without patronizing or condescending, it’s an examination of how fame can change us and haunt us, and of the complicated relationships that survivors of something like “Star Wars” can have with it.

It's the picture's lack of focus that eventually diminishes whatever little The Bling Ring has to say.

Miller's documentary skills seem solid enough, but this particular story needed more objectivity, and a lot more rigor, to be worth telling in this manner.

There is drama in the source material for sure, but maybe a little more style could have helped elevate this moment in history for the masses.

The double character piece excels most when Neugebauer does her thing and facilitates her actors. Together, they build a pair of utterly real people, nonetheless confined to a dramatic universe more prone to contrivance. But the pleasures of the former generally outweigh the irksomeness of the latter, with Lawrence and costar Brian Tyree Henry joined in as a super-generator of onscreen magnetism.

You Don’t Nomi cuts through the excessive nudity and stylized hyper sex of “Showgirls” to reveal the heart hidden behind the grime, relishing in the entrancing panache that has fascinated and charmed viewers for years.

The Midwife is often unexpectedly funny and sweet. The film is more a celebration of life and its pleasures, big and small, rather than dwelling on death

Never entirely satisfying as a drama, Crimson Peak is visually dazzling, boasting lively and at times even transfixing performances that keep the story’s blood flowing.

This version of Cyrano feels less fresh or contemporary than it wants to be. Something is missing either in the songs, the staging, or, more likely, the screenplay. That being said, the core story will still be compelling to many as it has for over 120 years.

It's a sterile affair, no ambiguity, no ambivalence, just people doing one thing and then another.

The BFG exceeds expectations thanks to Rylance’s performance, and joyously expounds the essence of a cherished children’s tale in all of its imaginative glory.

The Kid Who Would Be King blows the dust off an old tale, and makes it invigorating and inspiring for viewers who will be forming their own round tables of world-changers for generations to come.

Users is too quiet to say anything provocative, too short to waste your time and too inconsequential to recommend to anyone searching for a fresh perspective on age-old material.

With a popular subject, and some downright corny visual devices, The Inventor doesn’t knock it out of the park as neatly as some of Gibney’s other works. Still, it’s a worthwhile and damn entertaining addition to the developing Elizabeth Holmes canon that makes up for its flaws with undeniable watchability.

The fact is that both actors are very good, even if trapped in the amber of Hooper's overweeningly tasteful direction.

Game Night is a winner, plain and simple. Brisk and engaging (and surprisingly powered by a score from Cliff Martinez that’s expectedly great), this is a comedy that’s worth rolling the dice on.

A beguiling romantic comedy with a heart, soul and pulse that will pleasure you for a full 90 minutes with hardly breaking a sweat.

Zellweger’s poise and presence make the entire affair more than worthwhile.

It is a delightful experience to embrace Wonka with the wide-eyed wonder it deserves.

Despite its tendency to lean upon self-serious reimaginings, it is nonetheless an engaging and tenderly drawn film that is likely to resonate with anyone who has had to do the tireless work of sorting through an estate of a family member.

Vanderbilt chooses to present the tale with a lighter comic touch in the early stages, and it’s a tone the picture can’t overcome in its final third.

Really a two-hander overall, Disorder is part home-invasion film, part bodyguard romance and part PTSD drama that delivers solidly on the first two fronts and and partially on the third.

There’s always been something romantic and powerful about relationships primarily built on letter-writing, and that’s true for Shepard and Dark too.