“Last Knights,” a vaguely medieval action epic starring Morgan Freeman and Clive Owen, is as bland as its generic title would suggest. Japanese director Kazuaki Kiriya’s film might feature some handsome staging and solid production values, but it’s hard to tell because his film is so relentlessly dreary and bleak. My RogerEbert.com review.
This affectionate and respectful documentary shines a spotlight on a group of studio musicians who performed on many of the biggest and most enduring hits of the 1960s and early ’70s. There’s a ton of great music in here, but the movie as a whole can get a little scattered and repetitive. My RogerEbert.com review.
The original “Best Exotic Marigold Hotel” was not exactly great cinema, but it was sweet and safe. It was also a surprise box office hit. Hence, we have a sequel, which feels like as much of a shameless cash grab as “Grown Ups 2.” But these are really, really grown ups. My RogerEbert.com review.
Mae Whitman dazzles as the title character — which stands for Designated Ugly Fat Friend — a brilliant and quick-witted high school senior who takes that derogatory label and makes it her own. This breezy comedy is Whitman’s “Easy A”: the movie that will make the longtime supporting actress a star. At RogerEbert.com.
This second feature-length film based on the long-running “SpongeBob Squarepants” TV series is as zippy and zany as fans have come to expected. The animated, underwater sequences are a blast. It’s the back-and-forth to live action on dry land that’s the problem. My mixed RogerEbert.com review.
Lily Collins and Sam Claflin are attractive and appealing as lifelong best friends who are clearly meant to be together, but the many contrived obstacles that keep them apart are more irritating than romantic. The lighting is pretty, though. My RogerEbert.com review.
“The Boy Next Door” is terrible, but it isn’t delightfully terrible enough. An R-rated erotic thriller starring Jennifer Lopez as a sexy high school English teacher being stalked by a hunk half her age should wallow in its over-the-top premise. And it does, eventually — but the insane climax of Rob Cohen’s film only makes you wish the rest of it were as much fun. My RogerEbert.com review.
Al Pacino dials it down and does some of his best work in a long time as a veteran actor struggling to regain his former glory. If that premise sounds a lot like “Birdman,” well, yes — that is an unfortunate coincidence. But Pacino’s performance is the strongest element in Barry Levinson’s frustratingly inconsistent film. My mixed RogerEbert.com review.