Stephanie Zacharek

Brand New Day, at the very least, shows some awareness that actors, and not excessive, soul-killing special effects, are what will keep drawing us to the movies.

The Odyssey has already inspired so much chitter-chatter that its actual release was poised to be a letdown in comparison. But just wait till you actually see this eye-glazing dud of a movie.

This isn’t solely a movie about grief, but about the ways grief must fit into our lives.

The whole enterprise glows with friendly, pleasing daffiness.

Is the basic idea of sex slavery perhaps just a little too grim a plot point for a PG-13-rated fantasy? Maybe. But even if you can overlook that, Supergirl, directed by Craig Gillespie, has so little to offer.

Romería is a reverie in which the natural world mingles with a mystical one: through Simón’s camera lens, the land- and seascape of Galicia is very real, a panorama of majestic, rocky beaches and sunlight glinting off mischievous waves, and Garcia’s performance has a similar elusive yet grounding power.

Couture is filled with moments like these, small observations that may at first seem inconsequential—yet in the end, they’re what make a movie feel whole.

Chiarella doesn’t rely on jump scares (though there are a few), and he has zero interest in sadistic gore. Nor is he arty or arch; his approach feels direct and heartfelt.

Disclosure Day is majestic, unnerving, and more than little wacky, though its pure unhinged quality is probably its secret sauce.

The truth is, you don’t even have to like Lopez to enjoy Office Romance, which breezes along on a current of enjoyable gags and reasonably lively banter.