Elisabeth Vincentelli

For the most part, though, the X factor of elegance, sensuality and verve that made MGM musicals so memorable is missing here. You want to give an encouraging grade for effort, but effort is also the last thing you want to see in a musical.

A dry macabre humor has long run through Cronenberg’s work, and the uncertainty behind some of his intentions here creates thought-provoking ambiguity.

Is a cliché turned on its head still a cliché? “O’Dessa” will keep you wondering, and that counts for something.

Whereas the book is elliptical in narrative, muted in color palette and melancholy in mood, the movie is obvious, garish and just plain dumb.

Almost a quarter of a century in, the Bridget Jones movies are coalescing into an evocative portrayal of a character coming to terms with both her imperfections and her strengths in real time.

The minimal plot purports to endorse spartan storytelling, but after a promising start the movie detours into an overlong flashback. This may be to give Franck emotional weight, but it only creates belly fat.

[A] fascinating look at the act of questioning yourself and your family, your surroundings and your decisions.

Dupieux captures Dalí’s self-promoting genius but the constant trickery eventually becomes a little tiresome.

This scenario’s predictability could be forgiven were the movie effective on any level, but it just isn’t, from Cho and Waterston’s wooden performances to jump scares that would not startle Scooby-Doo.

The great production designer Danilo Donati’s contributions alone are worth the trip.