Amy Nicholson

Surprisingly, there’s emotional resonance in this slapstick flick about friends who are terrified to hug. Add that to the solid chemistry between the leads, and Tag is a fine callback to the sprawling ensemble comedies of the 1980s, back when the real-life tag team graduated high school. It’s a solid summer film that will melt away from memory by fall.

Theron proved her comedy chops in the underrated Young Adult, and here she and MacFarlane get along like two eager puppies. If MacFarlane indulges in self-flattery by keeping in all the times this babe bursts into laughter at his jokes, he's forgiven; at least we feel like the characters are actually listening to each other.

If the off-kilter pleasures of Volume I is von Trier enticing us to watch the rest, consider me seduced.

Esparza's cast of unknowns is so fresh and raw that the drama could be mistaken for a documentary if the camera work weren't so controlled.

Gebbe never asks us to believe in Tore's god, but she asks us to honor his beliefs. She's found an incredible conduit in Feldmeier.

Clearly, the actors feel their characters in their bones.

This documentary on one of the most universal, photographed, analyzed, opined upon and slavered over human experiences manages to astound.

Nothing in here makes an argument to be on the big screen. But it’s darned delightful, like a fizzy soda on a hot day.

A gut punch with a side of anguish.

Half the time, Black’s dialogue is just announcing what we’re looking at, from diamond swords to flying hot air balloons that look like goth squids. But it’s the gleam in his eyes, the gusto in his delivery, that makes every line zing.

This spry celebration reveals that the real Ginsburg is neither beast nor badass, but an even-tempered, soft-spoken mediator—not typically the traits that inspire rousing high-fives, but qualities that honor the slow, uphill slog of positive change.

The film’s most disorienting and wondrous realization, however, is that Shakespearean acting can exist even within “Grand Theft Auto’s” limits.

The pull of the film lies in how Davidtz allows Bobo to bob on the surface of things while we feel the dark undertow

Out of magnanimity, I’ll liken this trifle to a Rothko. The more I think about The Christophers, the more I imagine it has interesting layers. But I won’t fault anyone who just sees a simple square.

This political context is vital to appreciate the rebellion underneath Sarnet’s romp; otherwise, it’s easy to dismiss it as merely a goofy riff on the Shaw Brothers Studios’ landmark Hong Kong hit “The 36th Chamber of Shaolin,” which likewise followed a novice’s hard-earned spiritual and gymnastic growth. Of course, it is that, too.

The movie’s moxie makes it impossible not to get caught up in Marty’s crusade. We’re giddy even when he’s miserable.

For the small but enthusiastic documentary crowd and the comic's diehard fans, it's a must-see.

Adam Green's inventively gruesome slasher is the widest unrated release in 25 years.

It’s clear these overgrown kids are careening toward adult-size pain. But Marks’s infatuation with her flawed lovebirds also seduces the audience.

Despite all the boobs, The Change-Up is very fair to its female characters-well, at least to Mann and Wilde, who both ring true, even if Wilde is almost too good to be true...It sounds like a trifling detail, but those details are sorely missing from most "date movies," in which even the women laughing in the audience exit feeling like they're the butt of the joke.

Roach has insightfully made this about people, not societal scapegoats. He and McNamara have changed up nearly everything in this disaster except its vibrations of dread.

It’s the kind of intimate tour of New York that usually gets called a love letter to the city, except the corners Aronofsky likes have so much grime and menace and humor that it’s more like an affectionate dirty limerick.

Earlier incarnations of this story had activism as the end goal, Valentin for his principles and Molina for his new friend. Condon is more focused on their humanity. Caring for each other makes this bleak world worth fighting for. Without joy, we’re already in chains.

With the whole super-racket on the ropes, the cast of “Deadpool & Wolverine” seizes the opportunity to prove the power of their own charisma.

The film is heavy on the dread, light on the narrative. It’s all about the tension in the gym where the adults are just as melodramatic as the girls.

As Paltrow (Gwyneth’s brother), who directed the film and co-wrote the screenplay with Tom Shoval, makes his own case that history is built of small, individual actions that tend to be overlooked, he allows himself a bit of gallows humor.

This solid genre pic salutes its touchstones.

The film adores Cena’s sentimental brute who has hams for calves and kitten GIFs for brains.