It certainly contains elements from its predecessor, mixing it with aspects of A Nightmare on Elm Street to create a next step that is sort of logical. The result is uneven to say the least.

It is captivating because writer/director Kelly Reichardt never turns up the emotions or injects intensity. It is a subversive heist story focused on a man quietly struggling to admit he screwed up.

It is a fine story, yet the production does not contain a lot of power. It comes off as forced, like the path of the story is inevitable, regardless of whether or not it earns its emotions.

It is a detached character study with a strong central performance. It is pretty good, even if it isn’t the most entertaining sports movie.

It is predictable, with dim characters, a slow pace and no sense of location whatsoever. But then there are bursts of surprising cleverness and some genuinely funny moments.

A tremendously timely movie about revolutionaries, extremism, authoritarianism, hypocrisy, freedom and family. It is exhilarating, brilliant, insightful, thought-provoking and extremely captivating.

Its premise just doesn’t work. It causes some serious tonal shifts that hang over the movie’s themes like a massive distraction.

It is too strange to imagine it becoming a commercial success and not insightful enough to become an art house hit. Those looking for a strictly traditional romance will likely be confused. However, it is worth the trip for those seeking a slight spin on the familiar.

It is a little uneven, repetitive at times, with an ending that makes the story feel sort of pointless. But it is also cleverly made, with likable characters and a constant sense of overwhelming dread hanging over every second.

The jokes are still cleverly stupid and it is just plain enjoyable to see these actors slip back into these roles, finding some new places to mine humor from.