Bill Goodykoontz

“No life, no music,” the Tower slogan read. For Solomon and the rest, it was more like a battle cry in a war they fought but ultimately couldn’t win.

The film, wisely, is built around Hemsworth. He’s good at this kind of thing, and no matter how many throats he slits, you still root for him.

It is indeed a beautiful film, but with each horizon tinged with sadness.

Not a lot happens, other than eating between small bits of drama and large doses of humor. If you saw the first film, you know how good that can be.

Hausmann-Stokes won’t let the film get sappy; Martin-Green and Harris ensure it. Instead, it’s an unflinching look at a health crisis, a film that arrives at what it’s trying to say through unconventional means, and is all the more effective for it.

The film is fascinating in its exploration of the give-and-take between art and commerce.

Martin Scorsese’s The Wolf of Wall Street is absurd, ridiculous, over the top, overindulgent, overlong, overstuffed, over-everythinged. And that is precisely the point.

Osmond may tell the story to wring maximum emotion out of the audience, but so what? Isn’t that why people make these movies? It is. And more importantly, it’s why people watch them.

The movie is more a collection of cool people telling great stories than it is a structured documentary (despite Camalier’s attempts in that direction). But in this case, that’s enough.

Shaffer's inexperience pays off. He's completely natural as a mixed-up kid (and great on the mat).

There’s nothing in Thor: The Dark World that wasn’t done better in “Thor,” or a lot better in “The Avengers.” Except Tom Hiddleston’s performance as Loki.

Johnson and Dornan retain the chemistry of two mannequins knocked into each other in a department-store storage closet; the actual sex scenes play more like aerobics videos than anything actually steamy.

For some, it will be tempting to say The French Dispatch is easier to admire than enjoy. But if you go into it knowing what Anderson offers, you can do both.

There are laughs aplenty, some disgusting, some rather sweet, some both at the same time.

The performances are outstanding.

Some surprises are more effective than others. But what holds the film together are a couple of really strong performances by Charlize Theron and Mackenzie Davis. They have a terrific, and unique, chemistry that helps smooth over a few rough patches.

Gere is terrific. It’s a tough job standing out at a distance, especially when we have to make an effort to find you, but Gere always commands our interest and attention.

You don’t lose yourself in the film the way you might like, but there is never a second in which Oldman is not riveting.

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.

A well-acted, nicely directed, quiet little movie.

Spy is hilarious and heartfelt, a terrific movie.

Night Moves is an unexpected pleasure, offering more than what we expect and taking its time to deliver.

Reeves was born to this kind of role — quiet, moody, looks nice in black. He’s just as good as he was in the first film, because he’s exactly the same. In many ways, so is the film. That’s fine this time around, because John Wick: Chapter 2 is just as crazily entertaining.

It’s a heartfelt salute from Branagh to his hometown, and what he loved there.

Baruchel is outstanding, giving Hiccup just the right amount of confidence buried several layers beneath the shame he feels in not continuing the family business. Butler's a head-banger from way back, so he's convincing. And Ferrera gets the grrl-power vibe just right.

Between the galloping pace of the action and the percussive soundtrack and sound editing, you remain tense the entire time. Garland just won’t let you relax.

There is a predictability to the story, but that's OK. The acting is superb, Holbrook in particular, making That Evening Sun an understated pleasure.

It's stunning (and amazingly well done) and hard to believe.