Jeannette Catsoulis

The movie’s attempts to shock are genuinely hilarious, in part because of Nick Antosca’s preposterously perforated screenplay, and dialogue so shamelessly pulpy (“I was his drug, and he was mine”) it would have made Jacqueline Susann cringe.

Unabomber, the third narrative feature from the Danish director Janus Metz, is essentially two movies. Only one of them is good.

Undeniably sincere yet dramatically moribund, the movie, filmed in Italy and written by Jolie and Baricco, delivers its condemnatory message with stultifying obviousness. Its title, unfortunately, is all too appropriate.

The Uprising chronicles the infamous Peasants’ Revolt — the first populist rebellion in English history — with a rough-and-tumble energy and a bracing moral complexity.

Many elements of a solid thriller are present, including a lawless, unstable setting and credible perils; but the story wanders and drifts, its tension hobbled by Hig’s mopiness. And Scott, who has been making movies for nigh on half a century, seems unable or unwilling to inject urgency into a plot bogged down in sentiment and unlikely good fortune.

Union County is a compassionate portrait of a Sisyphean endeavor.

Like its namesake, the movie is raw and earnest, sulky and swaggering. And occasionally poetic.

A jolly sex comedy that plays out in frisky conversations and gumball colors (no pasty flesh tones here), the movie offers sadomasochism as a road to self-confidence and emotional maturity.

Baffling and at times perversely beautiful, Her Private Hell revisits some of the obsessions — murdered daughters, amputation, problematic parenting — of Refn’s wildly superior 2013 revenge tale, “Only God Forgives.” A dazzlingly gifted filmmaker, Refn will always have a place in my heart for his unwavering commitment to his scarlet-soaked visions, critics and audiences be damned. Now, though, he may simply be repeating himself.

The long tail of Fellini can be sensed wagging through every quirky character and unwaveringly deadpan exchange.