Barry Hertz

Mangold mostly lets Logan stand as a showcase for Jackman, that rare performer who can take an already-iconic figure and own him completely, to the point where it’s hard to divorce the two.

For a while, it’s quietly meditative and riveting – worthy of the Palme d’Or it captured last spring in Cannes. But in the film’s final 10 minutes, Audiard lets his bombastic sensibilities loose, creating an over-the-top revenge tale that’s bewildering.

It is hilarious and heartbreaking all at once, especially when factoring in Dave Franco's performance, a beautiful game of shadows in which he's forced to play the more respected artist against his older, more famous brother.

The new comedy Kneecap is a riotous delight that will have even the most staid audiences ready to flip the bird.

Essential to the film’s success is Murphy, clearly having his best time in a long time as Moore, who adopted a flashy pimp-esque persona that would eventually take the blaxploitation landscape by storm.

There is a sincerity here that sticks.

Dealing with such heavy matters as death, faith and forgiveness, the film wants to be a classic-in-the-making, but it just doesn’t hit the emotional and narrative cues necessary for such a weighty job.

This new version of an old tale has the capacity to horrify you into shell-shocked pacifism, while delivering a few minor-key surprises along the way.

His characters are the brightest, slickest people you will ever meet, and whether you’re meant to love or loathe them, Sorkin has a genuine talent for ensuring his heroes and villains will forever stick in your head, wandering the recesses of your mind in an eternal walk-and-talk formation.

By the film’s haunting finale – a gut-punch moment of reckoning that follows nearly half an hour of entertainingly amateurish gunplay – Kurosawa’s sentiments on the current state of e-commerce are clear. Whether emptor or venditor, capitalism is full of caveats.

If you can walk away from a movie with a tune in your heart and a bounce in your step, then it’s safe to say that the film clicked in just the ways that were intended.

Saulnier has returned with a tremendous, high-impact blast of a movie, making any delayed gratification all the more satisfying.

Although the movie’s energies dip slightly toward its end, when Mia’s plan to rid the world of the cursed hand requires superhuman acts of strength and derring-do, Talk to Me delivers a series of slash-and-burn shocks that last far longer than 90 seconds.

If you have ever heard of the term “catfishing” – and if you haven’t, I’m impressed and envious – then you’re already one step ahead.

Wagner Moura (Narcos’s Pablo Escobar himself) does what he can as the sturdy Sergio, and the actor has strong, near-instant chemistry with a love interest played by Ana de Armas.