PG-13, 1 HR., 37 MINS.
In this horror film, Keri Russell and Josh Hamilton play parents plagued by vanishing photographs, suicidal birds, and the dire warnings of J.K. Simmons, who turns up to explain what is going on — to the couple, and to viewers dim enough not to have figured it out already. While there are some scares, the main plot twist is foolishly given away with an opening quotation from Arthur C. Clarke. B- — Clark Collis
A Good Day to Die Hard
R, 1 HR., 38 MINS.
Yippee-ki-yay mofo Bruce Willis is back as John McClane, still killing scumbags and cracking wise in the fifth edition of Die Hard. C — Lisa Schwarzbaum
R, 1 HR., 47 MINS.
The divine Melissa McCarthy is defeated by this hectic madcappery about a scam artist and her victim on a road trip. B- — Lisa Schwarzbaum
R, 1 HR., 37 MINS.
One of the sad casualties of the post–Cold War era has been solid submarine flicks like The Hunt for Red October and Ice Station Zebra. Director Todd Robinson’s Phantom won’t kick-start a revival, but it is clever and claustrophobic enough to remind us what we’ve been missing. Credit mostly goes to Ed Harris as a haunted Russki sub captain who is set up by David Duchovny’s rogue KGB heavy to trigger WWIII. Think of it as a tight cat-and-mouse thriller set in an even tighter sardine can. B — Chris Nashawaty
A Place at the Table
PG, 1 HR., 24 MINS.
This urgent documentary looks at how hunger in America has risen as a result of our industrialized food system. The celebrity chef Tom Colicchio makes an eloquent spokesman, but the film spends so much time chronicling the heartbreak of hunger that you almost wish Michael Moore had been on hand to give the policy makers a greater taste of outrage. B — Owen Gleiberman
R, 1 HR., 46 MINS.
Director Steven Soderbergh turns a cleverly overwrought thriller into a pop projection of our most lurid fears about antidepressants. B+ — Owen Gleiberman
PG-13, 1 HR., 52 MINS.
You can’t get blood from a stone, but you can get tears from the Rock. Dwayne Johnson contorts his stoic, moai-statue features to express more emotion than usual as a father who infiltrates a drug cartel to save his son from jail time. The film tries to paint in shades of gray with vague criticisms of the war on drugs, but the absurdity of its he-man Everyman plot ends up turning its moral palette a muddy brown. C- — Keith Staskiewicz