What’s at play here is how sex and the sexual impulse can unleash destructive forces, and Roth enjoys conveying that destruction visually as he lets the ladies loose all over this bourgeois house.

This uneven but funny and engrossing drama is less about Victoria than about time itself: how it slows down in the bleary middle of the night, how it speeds up relationships between strangers when no one else is around, how capacious it is in containing the most unexpected of swerves and stumbles.

A movie that feels like a series of beautifully and meticulously crafted tiles in a half-finished mosaic; you can admire the pieces but still come away feeling like you’ve been deprived of the whole.

Goofily self-aware and wholesomely boisterous, it’s a children’s picture whose sense of spooky fun readily diverts from its quibble-worthy messaging.

If you can overlook the three or four endings of Bridge of Spies, each more overdone than the last, there’s a lot to like here.

While it’s an undeniably powerful film, it also seemingly feels the need to tread carefully.

Grace and poise are certainly embedded in Yousafzai’s DNA, but there’s frustratingly little of her vulnerability or interiority in the film.

The laughs are mild, but at least some exist.

Perhaps most importantly, not only does the film stress the importance of using math and physics and botany and chemistry to solve problems, but it also makes a plot based on scientific inquiry and audacity just as exciting and even more unpredictable as the movies’ usual brand of problem-solving, the kind that involves punching everyone and then blowing everything up.

Mississippi Grind winds up being that rare beast: the buddy comedy where you’re not tired of the buddies well before the credits roll.

The Walk is that rare movie that might please practically everyone, from viewers just looking for a thrill to those who might enjoy a story that sounds like a tall tale but winds up being discreetly poignant.

At best, The Green Inferno is a reliable shock and disgust-delivery system. At worst — and it certainly veers toward the worst — it’s a racially reprehensible work that exploits one of the world’s most powerless peoples. And no number of movie-geek references to “Cannibal Holocaust” is going to change that.

Brand: A Second Coming is messy, muddled and occasionally maddening; it’s also a strong and stirring portrait of a funnyman who’s realized that some things just aren’t that funny.

Whereas the jokes in the “Grown Ups” series feel reactionary and bullying, the family-friendly Hotel Transylvania gags (in the script by Sandler and Robert Smigel) instead come off as clever and humane, even when they’re making fun of helicopter moms and lawsuit-sensitive summer camps.

Stonewall somehow manages to be simultaneously bloated and anemic, overstuffed and underpopulated.

The Internship delivers what it promises, no more and no less, and faulting it for not being a rougher, tougher, smarter film about how much we all seem to live our lives through our work today would be like yelling at a spoon for not being a knife.

A thoroughly unpleasant experience.

The film’s so inflated with moral importance that it becomes ridiculous, a Lifetime movie shoved into a cage and fattened with sermons and platitudes until it is ready to be served up cold and bland.

Sicario calls to mind the films of the 1970s — not necessarily the ones we think of as capital-I Important, but the seamy, sweaty thrillers that subtly slipped in anti-establishmentarian messages amid the violence. It mixes arthouse and grindhouse into a most satisfying cocktail.

The New Girlfriend is a delicate figurine: too quaint to feel necessary in the current climate of ever-bolder representations of trans lives, and yet rescued from disposability by its delicate beauty.

When an infidel makes a film about traveling to an Islamic country that doesn’t accept his way of life, you expect a little more tension.

If you think man-crack is the apex of hilarity, A Walk in the Woods just might be the movie for you. It’s all right there in the trailers: slapstick, womp-womp one-liners, the premise of old buddies going on an adventure.

"90 Minutes" is one of the better faith-based films out there.

It’s a lush and intriguing experience that works so well for so long that it can’t be undone by a few flaws.

You don’t have to love De Palma’s movies to find De Palma a fascinating look at a vital period of American film history, through the eyes of a controversial artist.

Pawn Sacrifice is intelligent, absorbing, never boring, and skillfully tense when it should be.

Even if you think you’ve seen this movie before, Headland’s gift for outrageous dialogue... and Sudeikis and Brie’s comic chemistry make Sleeping with Other People a treat from start to finish.

A perfect example of how lame, lazy material strands good actors, resulting in a movie that looks great and feels less so.