‘American Chaos’ Film Review: Day-Late, Dollar-Short Doc Traces Trump’s Rise to the White House

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‘White Boy Rick’ Film Review: Real-Life Drug Saga Bolstered by Strong Performances

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‘Peppermint’ Film Review: Jennifer Garner Vengeance Saga Lacks Snap

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‘Kin’ Film Review: Genre Mashup About an Alien Weapon Shoots Itself in the Foot

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‘The Wife’ Film Review: Glenn Close Steps Out of a Famous Husband’s Shadow

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‘Overboard’ Film Review: Flimsy Remake Lacks Buoyancy

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‘Active Measures’ Film Review: How Putin’s Tactics Stole Russia, and How They’re Corrupting the USA

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‘Traffik’ Film Review: Paula Patton Overdoes It in Overwrought Thriller

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‘The Miracle Season’ Film Review: Volleyball Drama Serves Few Dramatic Spikes

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‘Unsane’ Film Review: Claire Foy Is or Isn’t Going Mad in Steven Soderbergh’s Thriller

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‘Flower’ Film Review: Talented Cast Set Adrift in Disappointing Teen Satire

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‘Peter Rabbit’ Movie Review: Beatrix Potter’s Bunny Reduced to Flopsy Sweat

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‘A Futile and Stupid Gesture’ Film Review: National Lampoon Biopic Gently Celebrates Anarchy

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‘Den of Thieves’ Film Review: Heist Caper Steals from ‘Heat,’ Pulls Off the Job

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‘Bright’ Film Review: Will Smith Struggles in Astoundingly Bad New Sci-Fi Movie

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‘I, Tonya’ Film Review: Margot Robbie Dazzles in a Biopic That Freezes Up

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‘Murder on the Orient Express’ Review: Kenneth Branagh Only Has Eyes for Himself

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‘The Divine Order’ Review: Swiss Oscar Entry Celebrates Seventies Suffragettes

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‘1922’ Review: Thomas Jane Haunted by Guilt in Stephen King Adaptation

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‘Leatherface’ Review: Umpteenth ‘Texas Chainsaw’ Origin Story Is a Bloody Bore

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‘Happy Death Day’ Review: ‘Groundhog Day’ Meets ‘Friday the 13th’ in Repetitive Slasher Comedy

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