Commendably inclusive, Desert One is still one of Kopple’s most conventional documentaries – and it’s one that, like “Coup 53,” occasionally bogs down in details.

Miscalculations aside, however, there’s a brutal wit and audacity to Ready or Not that makes it feel one-of-a-kind in an increasingly safe mainstream marketplace.

It doesn’t glitter, it doesn’t explode. It’s just fluffy and sweet. Bean’s film suffers a bit from minor technical issues and, despite a few improvements, it just doesn’t have the same emotional impact as the original, but it still deserves a good home.

What is says is sobering and at times disturbing, which gives the film a quiet power even if it’s at times frustrating.

It’s like we’re front-seat passengers, and though it induces much anxiety, “The Load” compels us to keep both eyes forward lest we miss whatever might happen next.

It’s a perfectly enjoyable, perfectly forgettable nostalgi-comedy that will be taken to task for not being anything more.

Purists may balk about revisiting this tale, but The Grinch earns its laughter and its sentiment, both of which are plentiful. It’s a full-throated Fah-Who-Foraze.

Although the film's ultimate payoff feels a little too big, and too insufficiently explained, to justify all of the obfuscation that led up to it, the script keeps the audience engaged and guessing right up to the end.

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.

It’s nothing short of a miracle that Every Day doesn’t collapse into the junk pile of its own refrigerator logic. Sucsy keeps the movie balanced nimbly between complex questions and earnest sentiment, and the need to constantly introduce new characters and circumstances keeps Every Day brisk and engaging.

Despite the fundamental problems with any 'Watchmen' adaptation, and the serviceable but not entirely effective visual aesthetic, 'Chapter 1' does a respectable job of retelling this story.

American Dharma unfortunately brings its audience only to the brink of real discovery.

While “Aliens Abducted My Parents” can be a little rote, its greatest function isn’t as a delivery system for drama, or humor, or even coming-of-age clichés. This is one of those movies about young people where, regardless of whether you like it or find it a little bland, you’re grateful that it introduced you to these cast members.

My Darling Vivian is an unmistakably loving and sensitive portrait, an imperfect but impassioned attempt to makes the case that the easy Johnny Cash narrative is missing an important figure, that the shadow his legend casts left at least one person in the darkness who ought not to be there.

For audiences who like Marvel movies at their tongue-in-cheekiest, this sequel provides some breezy fun while we wait to find out just how permanent Thanos’ genocidal schemes really are.

Cronin has an uncanny knack for human mutilation, which would probably be a bad thing in any other context, but if you’re making gross-out horror movies, it’s practically a requirement.

What saves this wallflower of a drama is its focus on the women’s friendship, which Mosaku and Horn sell with aplomb.

This may be the first movie to apply the Chekhov’s gun rule to vultures, a portent sure to satisfy the more horror-minded ticket buyers, not to mention anyone else eager for the kind of back-to-basics survival excitement “Fall” refreshingly serves up in this dreary age of apocalyptic popcorn emptiness.

There’s a great movie buried somewhere in American Honey — heck, there might be two of them. But at its current length, it resembles nothing so much as fine spirit overly diluted with water. The care and quality is all there, but in this iteration they ain’t coming through.

Frankly, big chunks of Master Z: The Legacy of Ip Man are so broad they’re almost goofy. The fights make up for it, and the great ensemble makes this broad world semi-believable. It’s a step down for the “Ip Man” series, but it’s still within punching distance, so don’t take your eyes off it. It’ll get you.

A rock musical like 'O’Dessa' only works if it sufficiently rocks, and 'O’Dessa' somewhat rocks.

What it lacks in intelligence it makes up for with good vibes and great casting.

#Unfit feels like a rational argument, and a powerful one. But if it’s liable to scare lots of people who already oppose Trump, it doesn’t feel as if it will change anybody’s opinion.

At times the humor feels elementary (and at others a little flat), but the story really finds itself when it weaves musical history into this road-trip tale in a captivating and entertaining manner.

It’s remarkable how far McConnell’s film can coast on little more than novelty power, star power, and Doritos, but there’s no denying that “Studio 666” hits a wall after about an hour, and spends the next 50 minutes stumbling around in a daze.

Reitman’s direction may be sharp and professional, but that’s only in the service of familiar material, so it falls to an excellent cast to make the most of a very repetitive situation.

Instead of an instant classic, we get a noble effort. We need more of those. This is a bright and earnest attempt to craft an on-screen fantasy for modern kids, with a practical moral that anyone could appreciate.

If audiences expecting a cute penguin movie are forced to engage with the fact that any government which abducts people for having different political views is evil, and that everyone must do everything in their power to stop that miscarriage of justice, then nobody can say 'The Penguin Lessons' isn’t at the very least well-timed.