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Dennis Harvey Film Critic With “Lake George,” Jeffrey Reiner makes his first indie feature as writer-director since the 1990s, following a prolific quarter-century helming small-screen projects. The filmmaker has cited formative viewings of classic film noirs on television as an inspiration, but this twisty tale feels more like the melancholy genre fictions of the late Ross Macdonald — low-key, droll, downbeat yet empathetic tours through labyrinths of disillusioned and corrupted Southern California lives. While there’s a fair-sized body count here, the path hewn by uneasy allies Shea Whigham and Carrie Coon comes off less as a thriller than a rueful black comedy of errors, with even the most violent characters carrying a certain pathos.

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‘Memory Lane’ Review: Dementia Takes a Hike in a Rowdy Dutch Road-Trip Comedy

Dennis Harvey Film Critic In recent years, movies about senility and mortality have taken on a pitilessly bleak, frightening tenor, notably in such awards magnets as “Amour,” “Vortex” and “The Father.” Preferring a less grim approach is the Netherlands’ submission to the Oscar international feature race this year. Jelle de Jonge’s “Memory Lane” is a sometimes boisterous, ultimately affirming seriocomedy about an elderly couple who take a road trip to retrace some of their youthful steps, probably for the last time. A hit on its home turf earlier this year, de Jonge’s film is a well-crafted crowdpleaser that should cross borders with relative ease … unlike its oft-squabbling protagonists.

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‘Armor’ Review: Suspense Stalls Out on a Bridge in an Uninspired Heist Thriller With Sylvester Stallone

Dennis Harvey Film Critic Sylvester Stallone has seldom played the villain onscreen, and judging from the stolidity of his turn in “Armor,” it seems unlikely he’s wanted to. That lack of enthusiasm will be echoed by most viewers watching this uninspired action programmer, in which top-billed Jason Patric’s driver and coworker-son Josh Wiggins get waylaid by armed robbers while transporting bank funds — and, unknown to them, some even-more-valuable contraband. Primarily taking place on a rural bridge where good guys and bad have a prolonged standoff, Justin Routt’s Mississippi-shot feature is competently made.

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‘The World According to Allee Willis’ Review: The Songwriter Who Stretched From ‘September’ to the ‘Friends’ Theme Song Gets a Lively Doc

Dennis Harvey Film Critic Showbiz has always made for strange bedfellows. Still, it’s hard to fathom any single personality linking talents as diverse as Pet Shop Boys, Bob Dylan, Fishbone, John Tesh, Diana Ross, Dusty Springfield, Toto, James Brown, TLC, Lulu, Stephen Stills, Tanya Tucker, Bette Midler, Gladys Knight, Scott Baio and Richard Simmons.

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‘The Best Christmas Pageant Ever’ Review: Town Terrors Get Tamed in a Fresh Take on the Kid-Lit Classic

Dennis Harvey Film Critic Initially a magazine short story, then expanded to novel form in 1972, Barbara Robinson’s “The Best Christmas Pageant Ever” has remained a holiday staple ever since. Its enjoyable central conceit of Roald Dahl-style comedic nastiness — the first sentence pegs principal figures as “absolutely the worst kids in the history of the world” — no doubt explains an enduring popularity among young readers, while there’s just enough inspirational uplift by the end to earn parental approval.

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‘Weekend in Taipei’ Review: A Squealing-Tires Tour of Taiwan Sights for DEA Agent Luke Evans

Dennis Harvey Film Critic In 1982, Prince urged everyone to “Party like it’s 1999.” Aiming to party somewhere roughly in the middle of that timespan is “Weekend in Taipei,” a throwback in the sense that it recalls the unpretentious — if also unmemorable — pleasures of many boilerplate action movies released in the peak VCR era. Luc Besson is both a co-writer and producer on this French-Taiwanese enterprise, which provides George Huang his first directorial feature in some time, 30 years after his very different debut, “Swimming With Sharks.” With “Fast & Furious” alumni Luke Evans and Sung Kang as the male leads, this tale of a DEA agent venturing East to battle a crime syndicate raises expectations of flashy chase and fight scenes.

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‘Elevation’ Review: Humanity Is Prey in Brisk Sci-Fi Monster Movie

Dennis Harvey Film Critic A coincidence of release scheduling has art imitating life in “Elevation,” which depicts America’s near future as simultaneously bleak and fraught with suspenseful peril. This isn’t “Civil War,” however, but a monster movie of sorts — involving mysterious creatures who decimate all humanity living below 8,000 feet. Playing more like an action film than horror, George Nolfi’s film stars Anthony Mackie as a father whose son’s medical needs force him to venture down into the danger zone.

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‘Cellar Door’ Review: Scott Speedman and Jordana Brewster Find a Portal to Implausibility in Suburban Portland

Dennis Harvey Film Critic The “Bluebeard”-like hook of splendors granted on one condition — never, ever enter a household’s specific forbidden zone — raises expectations of a spooky, macabre good time. Those expectations are almost entirely thwarted by “Cellar Door,” even to the degree of our never actually peeking behind the titular locked portal. Starring Jordana Brewster and Scott Speedman as a couple gifted luxe new digs with the aforementioned proviso, Vaughn Stein’s thriller is too simplistic and implausible to provide any chills.

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‘Space Cowboy’ Review: A Skydiving Cameraman Looks Back on His Rise and Many, Many Falls

Dennis Harvey Film Critic If you were to find entire dinette sets, automobiles and living rooms — with people sitting in them — tumbling Earthward from the clouds, you might think “Okay, so End Times really are a thing.” But it could also be the handiwork of “Space Cowboy” subject Joe Jennings, a “freefall cinematographer” who’s made a specialty of devising and filming such surreal stunts. Coming a decade after Marah Strauch’s first feature “Sunshine Superman,” about BASE jumping pioneer Carl Boenish (also an aerial cameraman), this new doc provides a thematically and stylistically overlapping companion piece.

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‘Lost & Found in Cleveland’ Review: Antique Appraisals Rile Up Midwest Cuckoos in a Middling Ensemble Comedy of One-Note Characters

Dennis Harvey Film Critic Though it’s something of a backhanded paean to its eponymous city in question, the most enjoyable element to “Lost & Found in Cleveland” is its locations, locations, locations — cinematographer Davon Slininger’s widescreen images provide an appealing selective tour of a burg the film presents as quaintly lagging well behind the times. Otherwise, this slick if uninspired first feature for actors turned writer-directors Marisa Guterman and Keith Gerchak offers a pleasant-enough ensemble seriocomedy that straddles the terrains of Richard Curtis and Christopher Guest, without approaching either’s high points.

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‘Monster Summer’ Review: There Be Witches on Martha’s Vineyard in a Fun Kid-Friendly Adventure

Dennis Harvey Film Critic A genial juvenile adventure that’s equal parts “The Hardy Boys” and “Goosebumps,” “Monster Summer” has Mason Thames (the principal child captive in “The Black Phone”) in considerably less-disturbing peril as a Martha’s Vineyard resident who comes to suspect witchery afoot. David Henrie’s slick exercise in lite supernatural suspense is aimed at younger viewers, though their parents may also be diverted by the cast’s elder members, including Mel Gibson, Lorraine Bracco and Kevin James. It’s a fun movie that lands on the right side of “innocuous,” being pleasantly formulaic rather than simply bland.

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‘A Mistake’ Review: Surgeon Elizabeth Banks Gets Blamed for a Patient’s Death in an Effective Drama on Medical Ethics

Dennis Harvey Film Critic It’s been 16 years since Christine Jeffs’ last feature, the seriocomic Amerindie sleeper “Sunshine Cleaning,” with Amy Adams and Emily Blunt. Her new feature “A Mistake” hews back to her 2001 debut, “Rain,” in that it is set in her native New Zealand and adapts its script from a Kiwi author (in this case Carl Shuker’s fifth novel). Though not a knockout, the director’s return affirms her knack for intelligent adult drama, here hinging on issues of medical ethics and bureaucracy — Elizabeth Banks plays an Auckland surgeon whose reputation and career are threatened when a patient dies after what had been anticipated as a routine procedure.

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‘Here After’ Review: A Child Returns From Death’s Door in Uninspired Supernatural Drama

Dennis Harvey Film Critic Many movies have dealt with the agonized grief that follows a child’s death. More than a few, notably “Pet Sematary” and its ilk, have dealt with the … er, awkwardness when said child unnaturally comes back to life, or at least un-death. Smoothly crafted but uninspired “Here After” tries to have it both ways, playing that resurrection for horror-adjacent creepiness that never quite goes anywhere, then pivoting to a sentimental mix of sacrifice and redemption similar to “faith-based entertainment” without quite making the commitment.

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‘Red Rooms’ Review: A True Crime Gawker Slips Into Obsession During a Grisly Murder Trial

Dennis Harvey Film Critic There is a quease factor to the popular fascination with serial killers that goes well beyond morbid curiosity about the crimes themselves — specifically, those who can’t get enough of such subject matter. How many dramatic depictions do we need of, say, Jeffrey Dahmer or Ted Bundy? Surely no new insights can truly be gleaned. After a point, it becomes a sheer, ghoulish fixation on real-life torture, rape and murder.

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‘The White House Effect’ Review: How the U.S. Government’s Global Warming Fight Went Cold

Dennis Harvey Film Critic Most people probably can’t remember “global warming” or whatever you want to call it being a significant issue — let alone a political football — before the last decade or two. But as “The White House Effect” underlines, about 35 years ago it was both prominent in the public eye and not yet politically divisive.

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‘AfrAId’ Review: Virtual Mary Poppins Becomes Vengeful HAL in Standard Blumhouse Thriller

Dennis Harvey Film Critic Though it was hardly the first thriller to portray domesticity imperiled by an artificially intelligent “helper” (you may recall trapped Julie Christie in 1977’s “Demon Seed,” for starters), the runaway success of 2022’s “M3GAN” certainly lent that concept new commercial appeal. Unsurprisingly, Blumhouse isn’t waiting for next summer’s “M3GAN 2.0” to capitalize on its own success.

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‘The Becomers’ Review: A Satirical Space Odyssey Writ Too Small

Dennis Harvey Film Critic Since Jack Finney’s “The Body Snatchers” was first published 70 years ago, screen adaptations — official and unofficial alike — have taken place in small-town USA, Me Decade San Francisco, a military base, high school and so forth. All had a gist in common: humanity being infiltrated and co-opted by a shape-shifting invasive force from outer space. Loosely playing on that theme, Zach Clark’s “The Becomers” adds a new wrinkle, in that this time the body-hopping entities don’t necessarily intend conquest.

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‘Stream’ Review: A Hotel Gets Hellish in Familiar but Lively Gore-Horror Opus From ‘Terrifier’ Producers

Dennis Harvey Film Critic Those who think the days of the truly independent sleeper are long gone should take note of the “Terrifier” films which, with their direct, rather insular appeal to hardcore horror devotees, have racked up a very tidy sum in profits from relatively tiny budgetary layouts. A third feature will be released this fall, but meanwhile there’s “Stream,” a stand-alone effort from much of the crew of “Terrifier 2” (save writer-director Damien Leone, a co-producer here), which capitalized on the original’s cult status to gross nearly $16 million two years ago. “Stream,” too, is launching as a limited theatrical event, booked between Aug.

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‘The Last Front’ Review: An Engrossing Old-School World War I Melodrama of Brave Civilians and Despicable Invaders

Dennis Harvey Film Critic The only confusing thing about “The Last Front” is its title. Set at the outbreak of World War I, this fictive tale of invading German forces wreaking havoc in the Belgian countryside depicts just one arena for violence in a conflict that would drag on for another four years.

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‘Confession’ Review: A Live-Action Manga Adaptation Crams Maximum Menace Into One Cabin

Dennis Harvey Film Critic Japanese director Nobuhiro Yamashita (“Linda Linda Linda”) was represented by no less than three features at Montreal’s Fantasia Fest this year, including anime “Ghost Cat Anzu” and high school seriocomedy “Swimming in a Sand Pool.” The shortest, most outwardly simple yet also possibly best of the lot might well be “Confession,” a manga adaptation in which two mountaineering refugees from a blizzard spend a long, discomfiting night in a cabin. The fact that one of them has just admitted to murder means that that particular type of crime could well recur before dawn arrives.

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‘In Our Blood’ Review: A Murky Mystery of Disappearances In a Southwestern Community

Dennis Harvey Film Critic Once every year or two a movie comes along that brings fresh energy to the found-footage horror movie, a terrain that’s been mercilessly, repetitiously over-tilled since “The Blair Witch Project” broke out a quarter-century ago. Unfortunately, “In Our Blood” does not capture that prize for 2024.

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