Available soon for home viewing

All Eyez on Me (no stars) Directed by Benny Boom. The story of rapper, actor, poet and activist Tupac Shakur. One of the most useless music biopics ever made — it’ll be too confusing for newcomers and too underwhelming for those familiar with the work and life of the of the rap prophet.

Austin Found *½ Directed by Will Raée. A woman who is fed up with her mundane lifestyle hatches a scheme to make her family instant celebrities, but not everything goes as planned as her wild tempered ex-boyfriend starts to lose it. The cast is surely capable of sharper comedy, but Raée doesn’t get everyone on the same page. Linda Cardellini and Kristen Schaal offer cardboard caricatures, while Skeet Ulrich, among others, plays it mostly straight.

Band Aid *** Directed by Zoe Lister-Jones. A couple who can't stop fighting embark on a last-ditch effort to save their marriage by turning their fights into songs and starting a band. Both leads are excellent together and the movie is good at showing how Anna (Lister-Jones) and Ben (Adam Pally) push each other’s buttons.

Chronically Metropolitan * Directed by Xavier Manrique. First time novelist Fenton Dillane (Shiloh Fernandez) returns unannounced to New York City to confront his family, his ex- girlfriend and a few lingering childhood fears. One longs to praise Manrique for attempting a serious-minded story in this, his first feature. But there needs to be a real reason to embrace it, rather than what’s on the screen.

A Dark Song ***½ Written and directed by Liam Gavin. A determined young woman and a damaged occultist risk their lives and souls to perform a dangerous ritual that will grant them what they want. Dives into the black arts with methodical restraint and escalating unease.

First Kill ** Directed by Steven C. Miller. A Wall Street broker is forced to evade a police chief investigating a bank robbery as he attempts to recover the stolen money in exchange for his son's life. The movie doesn’t hold a lot of surprises, but there is worse terror-in-the-woods fare out there — rather a lot of it, in fact.

The Last Face (no stars) Directed by Sean Penn. A director (Charlize Theron) of an international aid agency in Africa meets a relief aid doctor (Javier Bardem) amidst a political/social revolution, and together face tough choices surrounding humanitarianism and life through civil unrest. As well meaning as this film is, it is also a turgid, muddled one.

Lowriders **½ Directed by Ricardo de Montreuil. A young street artist in East Los Angeles is caught between his father's obsession with lowrider car culture, his ex-felon brother and his need for self-expression. Cars could easily have been the stars of Lowriders, but the film makes them supporting players in a family drama that’s a mix of strong scenes and shopworn ones punctuated by clichés.

Megan Leavey ***½ Directed by Gabriela Coperthwaite. Based on the true story of a Marine corporal (Kate Mara) whose unique discipline and bond with her military combat dog saved many lives during their deployment in Iraq. If the conclusion doesn’t bring a tear to your eye, you’re way too cynical.

Paris Can Wait * Written and directed by Eleanor Coppola. The wife of a successful movie producer takes a car trip from the south of France to Paris with one of her husband's associates. By the time the final meal is devoured, you’ll be wanting nothing so much as an antacid.

Raw **½ Written and directed by Julia Ducournau. When a young vegetarian undergoes a carnivorous hazing ritual at vet school, an unbidden taste for meat begins to grow in her. There’s nothing creepy or remotely scary about this movie. It relies on gross-out scenes to earn the right to be called "disturbing" and seems more interested in delivering schlocky shocks than suffocating the viewer with suspense or dread.

Rough Night *½ Directed by Lucia Aniello. Things go terribly wrong for a group of girlfriends who hire a male stripper for a bachelorette party in Miami. It’s all blithely formulaic and would be more irritating if the performers — who include Zoë Kravitz and Ilana Glazer — weren’t generally so appealing.

Score: A Film Music Documentary ** Written and Directed by Matt Schrader. A look inside the musical challenges and creative secrecy of the film score. This is a movie that is too frenetic and basic to make a substantial impression. I appreciated a kernel of observation here and there, but not enough for me to give it a whole-hearted embrace.

The Wedding Plan *** Written and directed by Rama Burshtein. When her fiancé bows out on the eve of her wedding, Michal refuses to cancel the wedding arrangements. An Orthodox Jew, she insists that God will supply her a husband. Feels less like My Big Fat Jewish Nuptials and more of a faith-based variation on a Disney princess fantasy. Instead of a fairy godmother, God himself will find her Mr. Right.