Variety

Asher has a track record of achievement, but he’s also someone with major boomer vibes; he’s got an aura, a mystique, a history of associational cool. “Everywhere Man” is well worth seeing, as long as you go in knowing that it’s a bit too infatuated with its subject, in that rose-colored Boomers “R” Us way.

With Ice Cream Man, Roth tries to go “over the line” in a way that’s shamelessly derivative, jaw-droppingly bare-bones basic as filmmaking, and way too ludicrous to scare you. The movie wants to be a lark, but it’s such a preeningly garish and ham-handed piece of shock theater that it makes "Thanksgiving” look like “Vampyr.”

To me, one of the most pleasurable things in movies is that moment when you see an actor become a movie star. That’s what happens to Dominic Sessa in “Tony.” I don’t care if the film is a summer indie smash or not (though it deserves to be) — it shows you that Sessa has the goods.

If the dialogue and characterization never rise above the pedestrian, however, those tensions do at least bring some malicious rooting interest to the essential survival drama — with a strain of toxic friction evident from the get-go between nice-girl protagonist Sarah (Kathryn Newton) and her narcissistic BFF Max (Lana Condor).

It’s a gloriously deviant oddity, best suited to niche audiences drawn to atmosphere over plot, as Bernstein’s script achieves more as a woozy dreamspace than a neat crime story.

As directed by Brett Sullivan, Hadestown: The Musical transmits the show’s earthy electricity.

There’s no getting around the fact that it’s a greatest-hits compendium. But though Sia’s last major hit was a decade ago, she had such an intuitive gift for crafting powerfully infectious pop songs that it’s hard to understand why she hit a wall.

Mile End Kicks wants to mirror the haphazard freedom of a young woman out on her own, away from her home turf for the first time. To that end, the writer-director, Chandler Levack, establishes an agreeably slapdash attitude of hedonistic adventure, one that’s often intentionally borderline cringe.

With as skilled a filmmaker at the helm as Cucinelli is a designer and entrepreneur, one may not mind being swept along by its rhapsodic portrait, even if you quickly become convinced that “The Gracious Visionary” is too generous to be fully honest about its subject.

More cheerfully lightweight than it is actively funny, the film is mostly content to coast on the affable hangdog charm of “New Girl” star Jake Johnson — who’s a commendably likable anchor for proceedings considering his character is, at least half the time, a blundering douchebag.