The whole thing, for me, never got past its one-joke premise. Zombies in Austenland! Funny! But … then what? Why, then … More hacking and whacking and cutting and cleaving and heaving (as in bosoms in those Empire-waist frocks); it’s all a horror fan could wish for.

Consider your multiplex choices carefully as Valentine’s Day approaches; you might find yourself weeping tears of relief when the credits finally roll.

Hail, Caesar! isn’t the great film you might like it to be, but it’s very, very good fun.

The storm effects are first-rate, immersive all the way. The tale-telling ability of director Craig Gillespie is frustratingly inconsistent.

[Ip Man] is the calm at the center of a storm of kung-fu combat sequences, and Yen plays him with grace and serenity.

In the cast, only Isaac makes a vivid impression, in a swaggery, relaxed turn that seems to imply that he’s in on the joke, or at least having a good time.

Director Raman Hui mixes martial-arts fights and slapstick comedy (lots of mugging by Jing) into a whimsical, fast-paced monster mash.

This picture stands as the best argument yet that the YA dystopia cycle has passed its sell-by date.

Thewlis voices Michael with weariness and despair until the character encounters Lisa. Leigh mixes eagerness...and an abashed vocal quality that emphasizes her character’s vulnerability.

The filmmakers have described Band of Robbers as fan fiction, and that feels about right: They don’t quite hit the mark, but it’s fun to watch them trying.

No child should be exposed to this.

The movie’s main drawback is that its main characters are surprisingly ill-defined.... It’s a frustrating flaw in an otherwise engrossing picture.

The ever-game Dormer and that lovely green forest — which is, according to the press notes, played by a photogenic woodland in Serbia — deserve better.

The flowers in Flowers are touchstones, reminders of a person, but more significantly of the conflicted feelings shared by the three main women in the picture.

The movie murmurs, when it — and others — should be shouting.

Mustang could easily have been a pure heartbreaker, but it isn’t. It is surprisingly nuanced and even something of an adventure tale about a fight for freedom and identity.

The fact that Bracey is the equivalent of a charisma black hole (at the movie’s center, there is no there there) and the further fact that the movie runs out of plot long before it runs out of stunts to showcase, make Point Break a remake that ought not to have been made.

Deschamps’ camera captures the emotional roller coaster Redzepi rode during that tumultuous time and shows his conflicted relationship with fame. He dismisses its importance but also clearly craves it. The end result is a revealing portrait of an artist wholly dedicated to his art.

Exposure to Alvin and the Chipmunks: The Road Chip may result in the dislocation of eyeballs in viewers over the age of 7 due to uncontrollable rolling of the eyes at the sight of the idiotic antics committed on screen. To avoid eye strain, which is to say, eye sprain, avoid this movie at all costs.

Yep, we’re in Tarantino territory for sure: way too self-indulgently long, and way, way overboard with that N-word.

You leave the film’s soft-grained world reluctantly, as if taking off a warm coat when it’s still a little chilly inside.

While the perpetually charming Lawrence isn’t the worst habit a filmmaker can develop, she’s valiantly miscast here in a story that never quite hits its mark.

A viewer might expect the film’s widescreen, busy images to fill with revenge-action sequences. But in its own way, Mr. Six is much more about a unique man adjusting an out-of-fashion personal code for a new type of crisis in the shadow of his mortality.

Daddy’s Home is a movie with a one-joke premise: Will Ferrell, he’s a pincushion of punishment. Make him screech. Watch him squirm.

See the movie. It’s a treat. And educational, too.

Freighted with symbolism and beautifully mounted, Youth is dreamlike and at the same time stultifying.

Gore and guffaws attend this very dark horror comedy in roughly equal measure.

Eddie Redmayne’s performance in “The Danish Girl” feels like it’s in soft focus; like the movie, it’s gentle and blurry and not quite there.