Scott Tobias

You don't have to be familiar with Tim Heidecker's character in his cult series On Cinema to enjoy the film — but it's filled with in-jokes that reward the hardcore fan.

In writer-director Kevin McMullin's skillful and efficient debut feature, teen burglars on the Jersey Shore discover a bag of gold coins, inciting a string of twists, turns and betrayals.

A Miami preacher becomes the target of an FBI sting operation in director Christopher Morris' disappointing follow-up to his blistering comedy Four Lions.

Despite a stellar cast, the back half of Andy Muschietti's adaptation of King's novel gets bogged down by lugubrious pacing and exhausts the audience.

The dangers are existential in this "anti-thriller," in which a truck driver must navigate Serbia's back roads carrying an unknown payload.

What could have been a cringeworthy misfire of tweens fumbling toward sex instead turns into a winning comedy that gets the sweetness-to-raunch ratio miraculously right.

Great performances from Walton Goggins, Olivia Colman and others only underscore the by-the-numbers story and shallowly observed setting of this drama set in an Appalachian snake-handling church.

Avi Belkin's documentary of the late 60 Minutes interrogator explores the ambiguous space Wallace occupied between journalistic rigor and slick showmanship.

Louis Garrel's second film as a director is a dry romantic comedy that involves a love triangle, and "watching it unfold can feel at times like an anthropological study of the French species."

Based on a YA novel told from Ophelia's perspective, Claire McCarthy's film is by turns too glib and too reverent with the source material, hopelessly blurring its point of view.

The not-so-stealthy reboot of the sci-fi/comedy franchise skimps on comedy to focus on world-building, an overplotted story and set dressing.

This Russian rock musical set in the nightclubs of '80s Leningrad is strongest when it leaves a cliche-ridden love-triangle plot behind to focus on the rebellious, heart-lifting spirit of music.

The director who has boomeranged from better-regarded films to ones treated much less kindly barely wants to own this crime thriller. But for fans of his work, there are sequences to admire.

Though some elements generate fresh sparks, the remake "mostly has the beat-for-beat quality of the live-action Beauty and the Beast, the current standard-bearer for pointlessness."

Rebel Wilson and Anne Hathaway never generate any chemistry as a pair of con artists in the French Riviera, and the labored script never generates any heat.

Charlize Theron and Seth Rogen spark off each other in what is essentially a gender-swapped The American President, though the film's cursory understanding of politics feels woefully out-of-touch.

Pamela D. Green's enlightening documentary adds to the already strong case that Guy-Blaché was the first female auteur of cinema, though in doing so it strives to connect a few too many dots.

Alex Ross Perry's visceral, difficult film about a visceral, difficult punk singer (Elisabeth Moss) unfolds in a series of bracingly raw and uncompromising set-pieces.

Though less thematically precise than Get Out, Jordan Peele's latest film doubles down on horror — and excels at capturing the mundane, funny moments between the big scares.

Banned from filmmaking by the Iranian government, director Jafar Panahi has stealthily crafted a fiction/documentary hybrid about the complicated ways old traditions intersect modern life.