Bill Goodykoontz

There’s nothing wrong with a thriller leaving some loose ends. But Deep Water trips over them too often.

Mulloy’s only other directing credit is for the documentary short “This Morning.” She brings a documentarian’s objective eye to Una Noche, yet the actors — non-professionals — convey exactly the emotions she is looking for.

Boorman retains the sense of melancholy and, ultimately, optimism from the first film. That, coupled with excellent portrayals of what could have been stock war-movie characters, makes Queen and Country a worthy follow-up to a classic.

Robinson tells the story in a straightforward way, not quite breezy but definitely in mainstream fashion. You long for a little more grit; even the rough edges seem a little smooth.

Liev Schreiber is outstanding as the title character, a big lug who can’t stay out of his own way.

It’s a good movie. It’s also a flawed one. And in this case more than most, it’s hard to separate those two things.

The destination is a letdown, but the journey there is harrowing and rewarding. Hall’s powerful and affecting performance is the biggest reason why.

Thanks to Layton's filmmaking choices, American Animals ends up being not so much a crime movie as an examination of truth and memory, as well as blame and responsibility. And it's a lot better for it.

Williams is so good, so natural, so believable in the role that it's easy to forgive her character -- or at least wish her well. That's no small feat, because she can drive you crazy.

Yes, if you have watched more than four or five movies, you probably recognize the setup. It’s the execution that makes Hustle more than just a run-of-the-mill sports film. Not always a lot more, but more.

Hall is a workmanlike director, taking a meat-and-potatoes approach to the story. But it fits the subject matter here. Thank You for Your Service is not a great movie by any stretch. But it is a good one, and perhaps more importantly, a necessary one.

These characters are more than willing to risk their lives to further advances in science. That’s a passion and dedication that fuels Europa Report, and Cordero makes the most of it.

Thanos is the most interesting, and most complex, character here.

In "The Player," Robert Altman carves up Hollywood with knowing, surgical precision. Cronenberg is a gifted filmmaker in his own right, but here he takes a meat-ax to the place. He gets what he's after but leaves quite a mess.

A fun and thrilling film which at times plays like a car race somebody stuck a movie into the middle of.

There's something refreshing about a movie that knows what it is, and what it wants to be. John Wick is that kind of movie.

In a movie with uniformly outstanding performances, Rockwell, as ever, is especially good. So is Carell, playing against type. But what makes The Way, Way Back stand out is Faxon and Rash’s obvious familiarity with what Duncan is going through.

The authenticity that Collette brings to a woman desperate for some kind of change and the willingness to seek it is inspiring. She’s the real winner here.

Once you see that ape, named Caesar, riding a galloping horse in triumph, it's awfully hard not to get sucked in. It's not dumb fun, exactly. It's smart dumb fun.

In Bethlehem Adler tries to make some sense of that world, and to the extent that it's possible, succeeds.

At 2 hours and 43 minutes, it’s a long goodbye for Craig. Too long, really; parts of the last act drag a bit. But as Bond says earlier, “Letting go is hard.” In “No Time to Die,” it’s also satisfying.

Even at less than an hour and a half, the film is, shall we say, patient in unfolding its story. Part of this is set up, lulling the audience for the shocks to come.

It's Kikuchi who carries the film. She gives Kumko a sense of dignity and strength in the face of absurdity, and does so with few words.

“Brats” is definitely McCarthy’s journey. What saves it are the people he brings along for the ride.

The risk of telling three distinct-but-related stories is that all may not be of equal quality. That’s the case here, as the movie starts strong but gets progressively weaker, particularly in the third act.

The film is interesting and at times enlightening, but it's all over the map.

Truth, justice and the American way” mean far different things than they did when Donner made his “Superman” film. Except they don’t. Some people have just tried to hijack them for their own political purposes. “Superman” is Gunn’s attempt to take them back. Let’s hope it works.

The best thing about Ghost Stories — and there are a lot of good things — is the confidence of its directors.

Neighbors is not the classic raunchy comedy it wants to be, but it certainly isn't for lack of trying. And when it's funny, it's really funny. Just not as often as one might hope.

Taken strictly as a piece of filmmaking, Aranofsky's Noah is ambitious. And as theology, well, it may not hew exactly to the letter of the law, but the spirit survives intact.

Certainly the film, which Cronenberg also wrote, is a comment on celebrity culture, on environmental disaster, on relationships, all filtered through a Cronenberg lens. If you’re seen “The Brood” or “Videodrome” or “The Fly,” you know how bizarre and horrifying that lens can be.

There’s nothing particularly surprising in the plot, once you get past the meta-Cage business. Pretty soon it’s just an action movie. What is surprising is how enjoyable Cage and Pascal make the movie anyway.

The Nightmare is a different kind of documentary, shelving the usual experts and talking heads for a more personal experience of the title subject. That's good and bad.

There’s not much more to the plot than Natasha’s mission. But Shortland does not skimp on the action — the first 40 minutes or so of the 2 hour and 13 minute film are almost nonstop harrowing chases.

There is something fascinating about the intimacy of the camera here that is magnetic. And harrowing. And frustrating. And maddening. And a little sad.

All of Us Strangers, defies easy categorization in the usual fashion. But it’s also easy to place it in one category: that of really, really good movies.

It's not a great movie so much as it is great moviemaking. It's basically a potboiler genre film, a B-movie with big talent attached.

The course of the film's story is somewhat predictable and played broadly. But where Volpe's work really shines is when it makes the bigger issue personal.

An unorthodox delight.

It’s impressive how accurately Lister-Jones and Pally make these fights. What’s more impressive is how Lister-Jones, who also wrote and directed Band Aid, makes the make-ups and happy, loving moments just as believable.

Match is no masterpiece, but it is an intriguing and entertaining example of actors lifting the material they're given to greater heights, with Stewart leading the way.

Skarsgård makes the character a little sad, a lot delusional but never a joke. And he makes “Dead Man’s Wire” an underrated gem not to sleep on.

It’s still more of a spectacle than a movie. But as spectacles go, it’s a big one. And with more elements of an actual film creeping in here and there, who knows? By the time we get to the fifth one, we might have some actual cinema on our hands.

Not every bit lands and the social commentary is not always exactly incisive. Sometimes it is, though. When a character says they should call the police and everyone breaks out into simultaneous guffaws, the point is made — fittingly, with laughter.

Batkid Begins is a good movie about great intentions and a large group of people coming together to make a stranger most of them will never meet happy.

Other People has its flaws, certainly, but when Kelly focuses more on the characters than their quirks, it’s an effective look at life and death.

This is director Jake Schreier's first feature, and, working from a script by Christopher D. Ford, he creates an inviting world.

Brigsby Bear is charming, sweet, creative, different and disturbing.

There’s a story within a story here, one more compelling and relatable than the other. Perhaps that’s by design. But even if that’s the case, it doesn’t mean the two parts co-exist comfortably, no matter what the intent.

It’s as if Boyle is saying he isn’t afraid to visit the past. And he does it about as successfully as one could — T2 is a movie worth seeing and enjoying if you’ve seen the first film (less so if you haven’t). What he’s not as successful at is telling us why.

The Is the End is a different take on the R-rated comedy, a raunchy laugh riot that actually gives you a little to think about.

Creepy, confounding and more than a little curious. It's also quietly compelling.

Most of all, though, it's a welcome, offbeat look at a couple of originals, something that's in woefully short supply.

Gleeson is terrific as Faraday struggles — with his feelings for Caroline, with her feelings for him, with the notion that some of what’s going on at Hundreds Hall may not have a rational explanation. The evolution of his character is subtle, but hauntingly effective.

To call Armstrong’s story a tragedy is probably an overblown notion. But it does involve sadness, not just with its depiction of a fallen idol, but with the necessary acknowledgment that some of our own hopes and dreams fell alongside him.

What saves Meadowland from being an exercise in masochism is the acting. Wilson and Wilde have a light touch that makes them perfect for the comedies they often make. Here, Morano leads them to much darker places, and they plunge right in.

With The Family Fang, [Bateman] shows confidence with drama and, perhaps more impressively, with weirdness, never letting things get odd just for the sake of it. He wisely doesn’t force the issue. This bunch is plenty weird on its own.

Comer makes Margeurite believably vulnerable and strong, haunting at times. But it’s not clear that the film is improved by the competing narratives. Marguerite’s version probably would have sufficed.

Byrne is a delight.

As in “The Searchers,” some of the motivations are questionable and murky. Yet the pain of losing someone you love is just as palpable.

In truth, the story isn't much. Just betrayal and revenge, basically. But a couple of things make Haywire a lot of fun to watch. One is the cast.

Jason Schwartzman has become, without question, the go-to actor when you want a character with off-putting, even annoying traits, yet need to have the audience side with him just enough not to want to strangle him.

Chappaquiddick is a study of arrogance, of power and influence wielded corruptly to cast facts into doubt.

If it is not as urgent as the first film, this is still an excellent companion piece. Together, the movies paint a complete picture of the physicality and mentality of war, and it is riveting.

Some of its conceits may not hold up under intense scrutiny, but, generally speaking, it's a good time at the movies.

Co-writer and director Chris Peckover clearly knows his way around both the holiday and horror genres, and while this isn’t the first time someone has blended the two, it is one of the more-effective efforts. It’s scary and fun, if your idea of fun involves occasional gore and torture, things like that.

It’s a messy but ultimately satisfying film, an opportunity to carry a movie that Davidson takes full advantage of.

You’d think a move about the potential for the destruction of universes would feel pretty high stakes, but this one doesn’t. Nor does it connect on the family drawn together through adversity front.

Some elements of the film are too melodramatic, but there's not a bad performance in it -- look at the cast and that's not surprising -- and Gosling is outstanding.

Randall Park, the actor (“Fresh Off the Boat”) making his feature-directing debut with a script Adrian Tomine adapted from his graphic novel, displays a confidence here that is infectious.

There is an honesty to The Perks of Being a Wallflower, a genuineness of experience that makes the movie soar when it just as easily could have stumbled.

To call the film slight is an understatement, and its budget, particularly for a movie with genuine sci-fi elements, is miniscule. But it is so charming and sweet...and the songs are so winning that it is impossible not to fall for it.

The performances, by Brenda Blethyn and Sotigui Kouyaté, are outstanding.

It’s nearly impossible to sit through The Sapphires without a smile on your face. It’s a little shallow, sure, but, as with the girls’ troubles, when they open their mouths to sing everything feels like it’s going to be all right.

Gadot is terrific, capturing perfectly the grace, power and heroism of the Amazonian princess who must make herself present in the world to save it.

It’s the kind of movie that takes you by surprise. By the time it’s done, the honesty of the performances and the depth of character that’s revealed is exhilarating.

More than anything else, Freaky is a lot of fun. Just enjoy it.

This is one of those little movies that stays with you, the announcement of an original voice worth watching. It’s a quirky, magical delight.

Scotty and the Secret History of Hollywood is a fascinating and undeniably irresistible look into that world. You just feel, despite Bowers' sunny disposition, a little dirty about enjoying it.

The cast, in particular Macdonald and Everett, rise above. However gritty the film may be, you want the best for these characters.

Director Lorcan Finnegan is relentless in his pursuit of disquiet. But “The Surfer” is not just an exercise in making a hard-to-watch movie. It’s also a commentary on toxic masculinity and the absurdity of bro culture that poisons X and podcasts and other forms of media.

It’s the classic example of the sequel to a really imaginative original: If the first one didn’t exist, this one would seem revolutionary. But the first one does, and Guardians of the Galaxy Vol. 2, for all its charms, will live in its shadow.

The Connection is long and occasionally long-winded and determinedly old-fashioned in its approach. That's why I liked it.

No, it’s not “The Shining.” It’s not trying to be. But it is a salve when we need one most, and that’s a lot.

It could be a really showy role, but Phoenix is patient, letting the character, and the audience, come to him. It's a journey worth taking.

Stewart proves to be an able filmmaker in Rosewater. But he also shows hints of being something more.

Welcome back, Whit Stillman -- with Damsels in Distress, the hipper-than-thou club is back in session.

Wakanda Forever misses Boseman greatly — the entire film is about missing him — but it moves the story forward in a way that seems logical and fitting.

It's a measure of how good a film Nowhere Boy is that it would be compelling even if it were the story of the formative years of a boy named Joe Brown.

This is the rare movie with no one to root against, a film filled with good guys and weird guys (and gals), all of whom you hope find what they're looking for, even if you know that's not possible.

No one wants to live in the past, but in The Peanuts Movie, the old stuff still stands up, while the new story is just flimsy glue holding the classic bits in place.

Whatever it is, Giamatti finds it and sells it. And despite a few dead ends with the story, I'm buying.

Director Shawn Seet’s film is surprisingly sweet and moving.

All the actors are good, but Harrington is remarkable. It’s not just the physical changes in her character, but the genuineness with which she inhabits her.

Regardless of politics, it’s fascinating to see how the White House works.

Seasons is a gorgeous movie that is exceedingly strange — not necessarily in the story it tells, but in the way it tells it.

It's all well done and cute and forgettable.

Coppola's audacity in not only portraying the unmoored nature of Marco's life but immersing the audience in it proves satisfying over time.

Smile 2 is a bigger movie in every way. Bigger isn’t necessarily better, but in this case, it’s not bad.

The film, directed and co-written by Jorge R. Gutierrez, is a visually stunning, funny movie that trusts children to deal with subject matter that many films don't: specifically, death.

Some people will find Miranda July's film a poetic triumph, a meditation on responsibility and disappointment. Others will find it hopelessly pretentious, one of those movies only pointy-headed critics can abide. I found the film to be more of the former than the latter. Except when the cat talks.

It's beautiful to behold and wears its magic on its well-appointed sleeves, daring the audience to crack wise.

Shining is nothing new for McKellen, a brilliant actor, and it's interesting to see how he and Condon portray Holmes' faculties at different times.

With a performance that is wide-ranging by necessity, Kazan makes Ruby immensely likable (as well as clingy, manic, sad, happy and whatever else Calvin wants her to be).

Do all of the aspects of the story hold up? It’s to the credit of the film and Kravitz that those questions never occur to you while you’re watching “Blink Twice.” You’re too engaged to notice.

If directors Alessandro Carloni and Jennifer Yuh don't reinvent the panda-as-martial-artist wheel, they avoid making the story seem stale. The terrific animation helps, of course.

It is McAvoy you will remember, because you won’t be able to forget his full-throttle performance.

Wonder will make you cry — that’s one of the main purposes of its existence — but it’ll also drive you a little crazy.

Sure, the hits would have been nice. But it says something about Jimi: All Is by My Side (and Benjamin's performance) that it is still a success without them.

The film is, like its predecessors, funny. But the joke is starting to wear just a bit thin.

Bacon can play just about anything, and he’s having a good time here as a guy not quite smart enough to keep himself out of trouble, but wily enough to try to dig himself out of it. It’s fun to watch.

There are some scares here, in the same way that there is some pain when you hit your thumb with a hammer. Blunt force carries a lot of power. But there isn’t a lot of thought. It’s the same idea as the first movie, just not as well-done.

There is much to like about Avengers: Age of Ultron. There was much to love about "The Avengers," and therein lies the difference.

A funny, heartfelt look at families, relationships and the lies that prop them up as much as tear them down.

I was only able to figure out the answer to about a third of the mysteries. But the rest left a thrilling impression that made “Missing” a genuinely fun ride.

The comedy hits more than it misses; this is a really funny movie. And it’s thoughtful, in its @$*# way.

Dumb fun can be, well, fun. G.I. Joe: Retaliation is way too much of the former and not nearly enough of the latter.

It’s a mix of good films that could have been a single outstanding one.

Reality and fantasy become increasingly blurred. And if you want to enjoy Dark Horse, you're just going to have to go with it.

He (D'Souza) reaffirms many of the complaints against Obama, and when he sticks to the facts is much more persuasive.

The Founder, John Lee Hancock’s film about Ray Kroc, is kind of a mess, which makes it perfect for the current political climate.

Is it going to save Hollywood? No, probably not. But it might save your Friday night, and that’s not nothing.

It is scatological in the extreme and filled with absurdist and slapstick humor, particularly in the early going.

It's all brutal good fun, with laughs scattered generously throughout the bloodshed.

It's a joy to watch Beckinsale attack the material — Lady Susan is one of those people whose interest in themselves and their own well-being is so great that it becomes contagious.

Director Gabriela Cowperthwaite keeps things moving, but her stripped-down approach is more effective in creating the world of the characters than in showing us how they interact inside it.

It’s fun while it lasts, but ultimately forgettable, kind of like the people they stole from.

It's just a good yarn, well told. So don't be deterred by the title (it sounds like a lame horror movie) or the description.

Lafosse, along with actors Bérénice Bejo and Cédric Kahn, infuse the film with a brutal honesty that makes it, if not exactly enjoyable, certainly compelling.

The Midwife is one of those movies that could be about anything and you’d watch, so enjoyable are its lead actors.

If the film is ultimately an exercise in atmosphere, it is without question a triumph on that front. The rich textures and almost tactile visuals are astonishing.

How do you make an age-old tale that’s been told many times before feel fresh and invigorating? Hire Peter Dinklage, for starters. He makes Joe Wright’s pandemic project “Cyrano” come alive with a performance heartening and heartbreaking. Wright’s penchant for elaborate, over-the-top set pieces helps, too.

Shankman gets enormously entertaining performances from Tom Cruise and Alec Baldwin, so much so that it's a problem: The movie's not about them.

While there is some magic here, it’s not the transportive experience it might have been.

The Danish Girl is beautifully shot and tastefully made and acted, but only Vikander seems willing to take chances. Happily, she does.

It’s ridiculous, far-fetched — absurdist, even. Some, or even a lot, of the jokes are stupid. But thanks in part to a terrific cast, expert timing and an all-in aesthetic, it's really funny.

A sharp turn on the romantic comedy, a movie about flawed people doing flawed things, often in funny fashion.

There are lots of laughs - a commercial Spurlock makes for Mane 'n Tail shampoo is hilarious.

Like a greatest-hits album, it's not as deeply satisfying as an artist's best work (try Yen's "Ip Man"). But it will keep you entertained.

The acting is first rate, the story still heartbreakingly urgent. But ultimately Parkland plays more like a re-enactment than a film in its own right.

Alvarez puts us in the interesting position of rooting for the bad guy, and continually changing our ideas of who that is, a genuinely intriguing idea. Don’t Breathe doesn’t always live up to that potential, but for much of the movie it comes close.

The Batman is impressively made. The acting is first rate, and the chemistry between Pattinson and Kravitz is magnetic. It’s meant to be an important statement. It’s just not a lot of, you know, fun. Or as someone famously put it in another Batman movie, Why so serious?

Jordan’s tone is consistently drab and morose, which is fitting enough, but the story drags a bit, bouncing back and forth in time in a manner that is sometimes useful, sometimes not. Overall, though, it’s an intriguing addition to the genre.

Can we ever get innocence back once it's lost? The ending suggests that we can. But at enormous cost.

It's also perfectly content to be an insanely violent, funny take on an established genre. And in that respect, Kick-Ass lives up to its name.

Dumb Money isn’t a documentary, and it’s not a go-to guide for beginning investors. It’s not trying to be. It’s trying to be something a little less weighty and a lot more fun than that, and it succeeds.

Visually beautiful — stunning, in places — but somewhat stale in story, director Peter Sohn’s feature debut will certainly charm young audiences, and there is some nicely bracing grown-up material: love and death, the whole deal.

Watching Garfield swinging through New York or toying with criminals after he captures them is reason enough to welcome another telling of the tale.

Boseman and Gad are both good. Marshall drinks and smokes and fights in a bar; certainly that's a side of him we haven't seen before. If anything, he's portrayed as a little too good at his job, a risk-taker whose every courtroom hunch pays off. It's an interesting approach to the story, but it also holds the film back a bit.

An unruly mix of science, morality, family dysfunction, horror and finger-down-the-throat gross-out ridiculousness.

It's never less than edge-of-your-seat fun.

The One I Love is an odd, unsettling and ultimately satisfying movie.

Erivo captures both Tubman’s defiance and her headstrong courage. But the film overall feels too conventional. It simply cannot fully capture the inspiring story of Tubman’s incredible life. Then again, what could?

More brains and less brawn probably isn’t a prescription for box-office success for a movie like this. But it’s a movie I’d rather see.

It’s all quite intricate and entertaining and terrific to look at. The “Fantastic” of the title might be stretching things a bit, but it doesn’t miss the mark by much. Better still, it makes you look forward to, and not dread, the next installment — and that’s real magic.

It takes a strong stomach for extreme violence and over-the-top obscenity, but if you're willing to roll with that, Deadpool is a hoot.

Obama is so smart and insightful, even in response to the canned and near-sycophantic questions during the question-and-answer sessions on stage, that it makes you yearn for a real interview, a tougher documentary, one that trusts both Obama and the audience more.

If nothing else, it's consistent — consistently stupid, with things like character development and story advancement never getting in the way of another parkour stunt.

Part of the fun of watching Mountainhead, the entertaining first feature film from “Succession” creator Jesse Armstrong, is marveling at the antics of the tech bros who already run a good chunk of the world, and want to run more. Part of the horror is how realistic it all seems. Part of the disappointment is how far it falls into “Three Stooges”-level farce.

Deadpool 2 is, above all else, a lot of fun. (And yes, you must stay for the post-credit scenes.) Sometimes it maybe doesn’t take itself seriously enough (after about the 50th crack you do kind of want to tell Reynolds to hold off for a minute). But in a genre that takes itself so deadly seriously, this is like a breath of fresh air.

Puzzle just kind of chugs along at its own pace, one of those small movies that packs a bigger punch, one in which, sorry, all the pieces fit.

Thanks to Cranston’s performance — along with a game supporting cast — and Brad Furman’s tension-building direction, the movie works.

True enough, she's trying to do the right thing. But she never quite gets there. And that gets old, making "Ramona" wear out its welcome long before it should have.

Giroux's refusal to pass judgment on his characters prevents us from doing so, and the film is much more powerful for it.

A charming film. Not a great one, but a good one.

It is affecting, surprising, heartbreaking.

Despite the best efforts of Plaza and the rest of the cast, Life After Beth never winds up being as scary or as funny as it ought to be.

Rogue One stands on its own, an entry that is at once part of the “Star Wars” franchise (obviously) but also separate – a tougher, grittier film.

McKenzie and Taylor-Joy are both affecting as two sides of not-quite-the-same coin. Their performances are the best thing about the film, which is good — but not as good as it might have been.

In theory, we go to movies for enjoyment. Director Rodrigo Cortés inverts that notion with Buried, a terrific, claustrophobic, fist-clenching film in which he tortures his audience in exquisite fashion.

Wood’s terrific direction and an outstanding performance by Morgan Saylor make it an involving cautionary tale.

Make no mistake, Daniels is gunning for awards here; the movie has that sheen, that Big Important Feel. But the performances keep it grounded. Let someone else decide winners and losers. Just enjoy “The Butler” for the sometimes-moving experience it is.

Daisy Edgar-Jones is affecting and effective as Kya, known to redneck townsfolk as “The Marsh Girl.” If only the filmmaking and screenwriting were as good as her performance. It’s really just a swampy Southern Gothic soap opera at heart, with designs on being something more.

If Sick isn’t a great COVID-inspired horror film, at least it’s a start.

This is real edge-of-your-seat stuff, in a throwback way - no booming special effects, just old-school timing and execution.

This is very much a mainstream movie meant to shine a light on the plight of people who were ignored for too long. For that reason alone, it's well worth seeing.

It is fun, a hodgepodge of styles and technique and feathered hair that really evokes the late ’70s.

It's a small movie but an effective one, using found footage as a means to an end and not as an end in itself. More like it would be a welcome trend.

A surprisingly delightful adventure romp.

Bill & Ted Face the Music is sweet and hopeful and, of course, kind of stupid, but that’s a big part of the point.

The film is a little too polished and slick to really provide the slap in the face of the U.S. government it intends to deliver. But as a means for Cruise to shake off the dust of movies like “The Mummy” for something more substantive, it more than succeeds.

Solid, enjoyable, good, but not great.

Annette Bening is so good in Film Stars Don’t Die in Liverpool that it makes up for a story that’s slighter than it should be.

Last Flag Flying is a movie about a long road trip that sometimes feels like a long road trip — it's sometimes funny, sometimes sad, sometimes poignant, and while the destination is never in doubt, occasionally the company drives you a little crazy.

The Conjuring 2 won't make anyone forget the first film, but it's good enough that you'll hope they make another.

Lucky Them isn't a great film, all told, but thanks to the good-natured performances and the general vibe, it's an immensely enjoyable one.

If you're game, "Parnassus" is a richly rewarding experience. If not, it comes off like pretentious nonsense.

Is Whose Streets? the only story we should see and hear about what went on in Ferguson and after? No. It’s by its nature incomplete, one side of the tale. What makes it important is that it is the side that too often goes ignored. But here, at least, no more.

Butler keeps you hooked and keeps you hoping. It’s a really good performance in a good movie, and proof of Aronofsky’s versatility. There’s some virtuosity in there somewhere, too.

The Runaways broke new ground. And if "The Runaways" doesn't, it's still a movie worth watching - and listening to.

While Zwick doesn’t dig as deeply as he might in searching for answers, the subject matter, combined with Tobey Maguire’s performance as Fischer, makes this a compelling film.

Her (Williams) performance is so engaging and complete, it's worth all the other shortcomings.

You wouldn’t want Kill Your Darlings to be the only information you ever get about the Beats. But it’s a decent introduction for the uninitiated, and interesting enough to those who know the story.

Suffice it to say that it's something that would make Austin Powers blush, baby, but it's not supposed to be funny.

The Hunger Games: Mockingjay — Part 2 is a dark film, in a dramatically satisfying way.

It's a sometimes-hilarious send-up of slasher movies that buries a surprising amount of sweetness under buckets of gore.

Everything Must Go leaves the resolution open, not telegraphing Nick's future. It is as unsettled as life, and the film is all the better for it.

Disney scholars may scoff that it’s not a warts-and-all portrayal of the struggle to bring “Mary Poppins” to the screen, but that seems almost churlish in light of the enthusiasm Hanks brings to the film, or the eventually melting icy facade Thompson puts up.

It’s quite good, thanks to the sturdiness of the story, the jaw-dropping visuals and, most importantly, the one thing the first film didn’t offer: Emma Watson.

It's wider than it is deep, but Andrew Rossi's documentary is a good primer on an issue that, in varying degrees, affects almost everyone.

Alien: Covenant is much better than “Prometheus,” in that it has plenty of scares and an actual plot, which, if sometimes predictable — all of these movies are in some ways the ultimate game of survival — is still satisfying.

It’s cute, funny, exciting to look at but not quite magical.

SpongeBob, in whatever form it takes, does one thing and does it really well: absurdist humor with a sweet center. I’m hesitant to ever say that this-and-such thing is “what we need right now,” so I won’t say that about the film. But I will say that SpongeBob is what we need all the time. The more the merrier.

This is not a movie for the squeamish. It may not be a movie for the non-squeamish either. But it is a movie for those who like to see directors take big swings, seemingly unconcerned if they whiff every now and then.

Hawkins is fantastic. She duplicates Maud’s gnarled hands, but doesn’t overdo it — she simply captures Maud’s struggle and portrays it as part of her life.

As an encore for Brand's Aldous, it's a welcome return. And for Hill, it's a chance to really shine.

Don’t think about the details too much. Just enjoy the exquisite agony of watching people squirm, and you’ll like “Drop” just fine.

The film only works if Ethan Hawke is scary. And he is.

In the Fade is a tragedy in three acts, their varying tone and effectiveness held together, however tenuously, by a powerhouse performance.

It’s a jumbled, intriguing, inconsistent mess — and yes, it is uncomfortable by design.

The film’s intentions are noble enough, but its story doesn’t always live up to them.

It’s an interesting film, consistently entertaining, a mile wide and an inch deep.

By the end of the ride, we’ll see glimpse of happiness, sadness, joy, heartbreak, maybe even tragedy, if cell phone-shot recollections are to be believed. All bases are covered, in other words, in one late-afternoon ride, a ride Gondry and his cast will make you want to take.

It's a short film, weighing in at 79 minutes, but that feels about right. You probably wouldn't want to spend a lot more time with these folks, no matter how intriguing their company. You won't necessarily enjoy the visit, not all of it. But you won't be bored, and for grown-ups with kids looking for a night out, that's something.

It’s not the best movie of the summer, not by a long shot, but if there’s such a thing as smarter dumb fun, this is probably it.

It's not a bad movie, but it is very much a transitional one.

It's oddly emotionally detached, easier to admire than to become involved in.

Individually they are all good here, though Hardy's skills don't necessarily translate that well to romantic comedy -- which could have been used to good effect, but McG doesn't have the touch to pull that off.

His first film, "Animal Kingdom," was a terrific examination of a low-grade crime family in Melbourne. The Rover is more ambitious but not as good. Michod's patience with scenes, while laudable, is at times too much.

Rodriguez and Taylor are terrific. Their confidence is infectious, yet they never let us forget the challenges their lives offer.

Eventually, all of the stories will come together in a somewhat contrived way. The film's parts are greater than the whole. But the parts are worth the effort.

As cautionary tales go, Disconnect is a pretty good one, but it’s not really a whole lot more than that.

The script makes the characters a little too witty and spot-on with cultural references, but what makes it work, to the extent that it does, is the innate liability of Sudeikis and Brie.

For most of the film, Weitz, riding a fantastic performance by Demián Bichir as the landscaper in question, succeeds in showing the day-to-day struggles that exist beneath the political rhetoric and upper-case headlines.

It's all a seedy, sordid mess, and it only gets worse -- and more and more intriguing. Layton engages in re-enactments of some parts of the story, a tactic that is either helpful or annoying, depending on your appetite for such things.

If the path seems familiar — hard work and a good attitude triumph over all — it’s because it’s a successful one. Robles is a real-life hero worth rooting for; Jerome makes him relatable and human.

It’s creepy as all get out and features a great performance from Nina Kiri, on-screen alone for most of the film, as a podcast host who has moved back to her childhood home to take care of her dying mother (Michèle Duquet). Things get weird.

It works, both as a character study and a BOO! made-you-jump exercise in horror.

Hoffman wisely gives his actors plenty of room to maneuver, and that they do. It's surprisingly fun to watch them play against each other. It's not as if you're going to learn anything new from Quartet. It's too straightforward for that. But that doesn't mean you won't enjoy seeing old pros at work. And you won't be exhausted by the end of it.

Prometheus is a good movie, sometimes very good. It's just not a great movie.

One would expect a film about French artist Pierre-Auguste Renoir to look beautiful, to be shot in warm, sumptuous colors. And one would not be disappointed in Gilles Bourdos’ Renoir.

Occasionally the film seems as if it will make a political statement (the value, or lack thereof, of torture, for instance). But it doesn’t really follow through. But they keep us occupied with twists, well-played, and some of the laughs are genuine, if uncomfortable and guilt-inducing.

Belle is a beautiful period piece, but it's also something more: a study of racism, classism and sexism in 18th-century England.

There are obviously a lot of parts here, and they don’t all fit together successfully; the shift in tone toward the end is particularly unsettling. But it’s not for lack of ambition on the part of the Daniels, nor the performances by Dano and Radcliffe.

It's a somewhat goofy movie that also manages some real scares. Best of all, it makes excellent use of an element of vampire stories effective since Count Dracula confronted Van Helsing in Bram Stoker's novel: I know that you know, and I also know there is nothing you can do about it.

This isn’t a great horror movie so much as a fun thrill ride. Bettinelli-Olpin and Gillett know just how to put Weaving’s talents to good use.

Sorrentino drenches his audiences in the movie-going experience — when you’re done, it’s something akin to enjoying a rich meal, even if you didn’t quite understand how all the ingredients combined. All that’s important is that it satisfies, and ultimately, Youth does.

Napoleon isn’t a failure on anyone’s part. But it’s not a rousing success, either. It’s not really a rousing anything, which is the problem. Maybe Scott should have gone in even more on Phoenix’s quirks and mannerisms, which are the most purely entertaining things about the film. Whatever the case, it doesn’t quite measure up.

Alexander Payne has a lot of fun — and has some serious things to say — in Downsizing, a film that goes from fascinating to sometimes merely functional, but never truly loses its way.

Forbes' story and her direction of it may seem too sunny for some. But she keeps us refreshingly off-balance throughout, by letting us in on her memories the way she recalls them.

Miles Ahead is by no means a perfect film, but it is an interesting one. In this case, driven by Cheadle’s performance, that’s more than enough.

Ultimately Fury is a good, conventional war movie that might have become something more.

It’s fun enough in places, outrageous (in mostly a good way) in others. Ultimately, however, the plot falters enough that it’s more like a two-hour audition for Great Actress. Chastain passes with flying colors, even if the movie doesn’t.

He's always on - this is a documentary, after all, so even when O'Brien is offstage, he's still performing in some capacity, cracking wise at the camera, of whose presence he is acutely aware.

The problem with Peyton Reed's film is that when he shrinks the always-affable Paul Rudd, he shrinks a big part of Rudd's charisma, too.

Director Francis Lawrence does a nice job capturing the claustrophobic environment of District 13 and has a good eye for action shots. But the actors are what really sell the movie.

Jensen has a real gift for comedic editing, knowing just how long to play out a bit and when to move on. And Mikkelsen goes all in with his performance (as does everyone else).

It’s not a disaster, and it doesn’t lack for ambition. But it’s wildly uneven and kind of blah, if that can be said of a movie with nonstop, often incoherent action, self-aware needle drops and not nearly enough smart-aleck quips from a cast we’ve seen deliver plenty of them in the past.

Weird” is one word for it, and it certainly applies. But so does “creative,” “inventive,” “compelling” and, finally, “good.” Dave Made a Maze is all of those things, a one-of-a-kind movie from director and co-writer Bill Watterson.

Igawa is almost a magical presence, projecting a calm in Ozu that is infectious.

Melfi, who also wrote the script, goes for broke on the sappy front. It's a credit to Murray's skill — or maybe the strength of his personality — that he never submits completely to all the heart-string tugging.

Everest is a sprawling mess of a movie, one you feel like could have been great but instead roams all over the place and winds up being just pretty good.

It's an unnecessary movie, with some funny parts and a few callbacks to the original, as if visiting Las Vegas for a bit might bring back some of the original magic. It doesn't, but at least this time it seems like they're trying. A little, at least.

What makes the film more than just a starstruck string of great stories is that it also gets at the loss and longing in Gordon's life.

"Norman” takes a largely unlikable character and inserts him into the center of its story, a gambit that seems like a surefire recipe for disaster. It’s not, thanks to Richard Gere.

We’ve seen it all before — maybe not quite as spectacular, maybe not quite as dumb. It’s Washington who ultimately makes “Gladiator II” stand apart from the first film and makes it a lot more fun than it has any right to be.

It’s all insanely violent and gleefully silly. Stab wounds and bullet holes just don’t slow some people down the way you think they might. Through it all the best part of the film remains the dichotomy of a bland wimp (a character Odenkirk plays so well) who can flip the switch to becoming a remorseless killer — and seeing Odenkirk as the one flipping the switch.

There’s something about a lot of the film as a whole that makes it feel as if Lanthimos is trying a little too hard.

Visually, the movie is amazing — jaw-droppingly so. This is as technologically impressive as anything Spielberg has done, if not more so. The story, on the other hand, based on the bestselling novel by Ernest Cline, doesn’t just allow for narrative shortcuts; it practically demands them.

A quiet character study filled with damaged, insular people who live life in small increments, only occasionally exploding in emotion.

What makes In a Valley of Violence a notch better than a simple genre exercise is West’s sense of fun.

It all falls ultimately to Keough, who is outstanding at portraying the duality of a character, a duality the story demands.

The movie isn’t particularly hard to figure out and doesn’t try to be. Its charms lie more in what the actors make of characters that could have been cliches (or, if you’re in a kinder mood, archetypes) and its gorgeous look.

for those willing to go along with von Trier's typically in-your-face tactics, it's a good, if uncomfortable (and surprisingly funny), film. And the discomfort is part of what von Trier is after.

The Apprentice — its title a play on Trump’s original identity in relation to Cohn, as well as the reality show that helped get him elected president — is well-made, entertaining in its way (particularly for fans of good acting) and not at all surprising.

Don't be mistaken -- this isn't an artsy thriller. It is still, at heart, men vs. wolves, and the wolves definitely have the home-court advantage.

Kristian Levring offers a brutally beautiful take on the Western in The Salvation, a film reminiscent of a song that sounds familiar but offers its own pleasures.

The Creator isn’t a masterpiece of the AI genre, if there's such a thing yet, but it's a good start.

Niccol looks at the pilot's struggles and the toll this remote form of warfare takes on his life. It's certainly intriguing, but he tells his story in such broad, obvious strokes that the movie isn't as powerful as it could be.

An enjoyable movie, in many ways a beautiful movie to look at. One only wishes he'd been a little more ambitious.

Weisz’s performance is what provides the tension. It’s impossible to read her — or, more accurately, it’s possible to misread her. That’s kind of the same thing, but not quite.

The story, based on the Michael Connelly novel, grows increasingly far-fetched - at times it plays like an expensive pilot for a TV series, maybe a "Young Barnaby Jones" or something.

Vacth is good throughout. It's tough to make a disaffected character hold your interest, but she does.

Out of the Furnace goes so far out of its way to be gritty and meaningful that it sometimes neglects its strongest feature: its actors.

It's not an easy ride, but it is ultimately a satisfying one.

Writer and director Sarah Adina Smith’s vision is so confident, so sure, that it’s worth trusting her to see where the story goes. Plus, you get Rami Malek at no extra charge.

We've been down this road before. But Pitch Perfect 2, goofier than the original, makes it an enjoyable trip.

Everything is so bizarre and deadpan, the humor just sort of sneaks up on you, until you’re laughing without even meaning to. It’s a neat mix of subtlety and over-the-top bloodshed, with everything played with a straight face.

Sicario: Day of the Soldado is exciting, and still delivers nihilistic thrills. But this time around, the filmmakers are satisfied with that and not much more.

There are shortcomings in this film, and most of them are Wenders’ responsibility. But there is also inspiration here, if you’re willing to look for it.

An unapologetic love letter to the popular board game. It's also almost - but not quite - something more.

Picks up where the first film left off, literally, and offers at least as many laughs (if not more for adults), retaining the goofy attitude. Cameron and Pearn throw a lot at the wall, just like their predecessors, and most of it sticks.

It's not that the artificiality doesn't work sometimes. It does, as some of the scenes are gorgeous to look at. But too often it serves as more of a distraction than an effective tool for telling the story.

Patricia Clarkson is kind of funny as Jamie's mom, an unreformed hippie. And Timberlake and Kunis get in a few good laughs before it's over. But with such a well-worn story, you can't shake the idea you've seen this kind of thing before.

The Last Exorcism is a good movie that could have been - SHOULD have been - a great one.

Gilchrist, Emma Roberts and, especially, Zach Galifianakis, give affecting performances, but they are ultimately let down by Anna Boden and Ryan Fleck's screenplay.

If you like your musicals enormous, over the top and bang-on-the-head manipulative, Les Miserables is the movie for you.

It is a question that has vexed lovers of fine cinema for years: What if you made a teen sex comedy with grown-ups? And now, thanks to Hot Tub Time Machine, we have our answer: It would be pretty cool.

Simon Killer is a beautifully made look at ugliness and brutality, the kind of oxymoronic exercise that fascinates some and repels others.

To pretend that the film doesn't make a political statement is silly. Of course it does. It wouldn't be effective at all if it didn't.

Metz does a really nice job of shooting the final match, of ratcheting up the tension. Then again, the five-set marathon does a nice job of that all by itself. Gudnason is good as Borg, but mostly he’s a portrait of tightly coiled silence, occasionally lashing out. LaBeouf is the best thing about the movie.

Foy is terrific, as is Pharoah.