Bill Goodykoontz

It’s all a neat trick. Or exercise. Or brain-teaser. Whatever you want to call it, Upstream Color is like nothing you’ve ever seen before. But once you have seen it, once isn’t going to be enough

Long story short: Hunt for the Wilderpeople is a terrific movie and you should do whatever you can to see it.

There is nothing in the film that will keep you awake at night. Instead, The Awakening works much more subtly, with a profound sense of dread and resignation, a death-obsessed movie given life by Hall's performance.

Good movies create their own worlds, and that’s certainly true of Goodnight Mommy — even if it’s a world you wouldn’t want to live in.

The enormously appealing thing about Glass Onion is watching the cast have an obviously good time with their characters and with each other.

It's almost as difficult to sit through Starred Up as it is satisfying to watch it.

But it’s Atwell who steps up the most. Like Phoebe Waller-Bridge’s character in “Indiana Jones and the Dial of Destiny,” her motives are fluid, which makes her more fun.

A mix of comedy, science fiction, nostalgia, adolescent wish-fulfillment and beer, beer, beer, its parts shouldn’t fit together as neatly as they do. But somehow Edgar Wright and Simon Pegg have again managed to make a movie that is knowing, touching and hilarious.

Miller maintains control over the proceedings at all times, which is impressive enough. But where he really soars is in the performances he gets from his three lead actors.

Like the first film, The Croods: A New Age is a pleasant enough movie. It may not make you forget the original, but only because you probably already had.

[Washington's is] a tremendous performance. It's when he is on-screen (most of the time) that Zemeckis' film really, if you'll excuse the expression, takes flight.

For a movie that seems at times to have no idea what it's trying to do, 'Silver Linings Playbook' is compulsively watchable. ... Throwing together so many movie tropes and blending them is both a brilliant idea and a scary one, but one that Russell proves well capable of handling.

Logic devolves, cameos abound — there are two that are truly inspired, one of which involves legendary recasting — and lessons are learned.

[An] enormously entertaining movie.

It’s fun, it’s smart and yes, it actually does have something to say. Delivered in this way, I think people are more inclined to listen.

The Testament of Ann Lee is a biographical film about a real person, though one about whom a great number of details aren’t known. It runs up against some rough patches during the telling of the story, but overall it is immensely enjoyable, an unflinching (and nonjudgmental) look at faith, no matter how bizarrely we may think it’s practiced.

He's often called the Yiddish Mark Twain; supposedly Twain, upon hearing this, said to tell Aleichem that Twain was the American Sholem Aleichem.

The Internship has some funny moments. The cast is too talented for it to come up completely dry. But for a movie about a place so filled with ambitious climbers, it is far too lazy.

The Secret in Their Eyes never lets you forget that you're watching a movie - and never lets you wish you were doing anything else.

Pattinson is what helps us keep pace. He completely inhabits Connie with his jittery, twitchy efforts — he can’t stand still, so neither can we.

Rogowski carries the film, and it is quite the performance — one whose appeal is difficult to work out in your head, which makes it all the better.

The Queen of Versailles is funny, sad, infuriating, instructive. It's the American Dream inflated to ridiculous extremes, until it bursts.

The cinematography is outstanding, revealing the harsh beauty of the land. And the acting...is terrific. The burden rests on Eid’s shoulders, and he more than carries it. He’s a natural, showing us Theeb’s curiosity, loyalty and ingenuity while still retaining the innocence of a boy who has been sheltered from the world outside the desert.

Villeneuve's telling of her story - and of her children's - is painful, searing and something close to brilliant.

It’s good — funny, smart and contemporary. By definition it can’t be as groundbreaking as the first film, but never does it feel like a cash grab.

An intriguing look at the effects on one man's life; whether they're worth the cost is something Steinbauer leaves up to us.

A great movie exists in Love & Mercy, side by side with a pretty good one.

Overall, it's exactly as absurd as it sounds, but in the best way.