Frank Scheck

That the film proves as affecting as it does is largely due to Knoxville’s understated, terrific performance that makes his character fully sympathetic despite his many flaws.

Revolving around the recollections of Barrie Wentzell, who served as the magazine's chief photographer from 1965 to 1975, and several of his colleagues, Melody Makers will make music lovers desperately wish for a time machine to return to those halcyon days.

Refreshingly devoid of politics.

The pile-on of frenetic action sequences, especially toward the end, eventually becomes more wearisome than thrilling. Nonetheless, White Snake, a Warner Bros. co-production and box office hit in its native country, proves a superior effort that should find enthusiastic audiences on our shores.

For all its flaws, is an often spooky and imaginative ghost story that contains a genuine creepiness.

The Boogeyman, in both its literary and cinematic forms, is undoubtedly relatively minor King. But when it’s done this well, even minor King is major scary.

There’s also just enough well-earned sentiment thrown in to provide a nice counterpoint to the farcical humor.

Informative and insightful for films buffs without sacrificing accessibility to the casual fan, "Cameraman" is essential viewing for anyone interested in film history.

An inspirational film for cinephiles everywhere.

Good Girls Get High is sweetly amusing throughout, knowing enough not to wear out its welcome thanks to its fast-paced 77-minute running time. It also benefits enormously from the highly appealing performances of its two leads who don't seem to be faking their enjoyment during the energetic dance interlude performed during the end credits.

Destination Unknown represents a worthy addition to the canon if only for its historical importance.

Phillip Noyce’s thriller starring Pierce Brosnan in the title role has the irreverence of an Elmore Leonard tale, leavened with generous doses of sentiment.

The strength of the ensemble helps give the proceedings further dramatic resonance, with the performers providing subtle emotional depths that keep us firmly invested in the characters' plight.

It doesn't shy away from pointing out the many inconveniences suffered along the way. But it also vividly illustrates that as we sit in our too cramped coach seats, attempting to pass the time with various diversions, that we are also taking part in a modern miracle about which our ancestors could never have dreamed.

What it doesn’t provide, unfortunately, is a persuasive prescription for how we’re going to prevent our country from descending from democracy to theocracy.

Michael Moore in TrumpLand earns points for ultra-timeliness and its admirable attempt to raise the level of discourse in this deeply polarizing election.

Astutely chronicling an amazing musical career that ended prematurely due to Parkinson's disease, the doc will delight the singer's old fans and likely make her many new ones as well.

Despite its undeniably fascinating elements, Prodigal Sons attempts to deal with so many issues at once that it inevitably lacks focus. But there's no denying that it offers a hook that other similarly themed docs could only envy.

An appealing lead performance from its leading man and a wonderfully sentimental, if overly familiar, story line are the chief virtues of this French drama, a huge success in its native country.

This touching if insular drama about a woman grieving over the recent death of her aunt is well acted and incisively observed, although it's ultimately too low-key to have much dramatic impact.

Minions: The Rise of Gru gives fans more of what they’ve come to expect, mainly Gru acting evilly, the Minions acting stupidly, and enough clever gags that will fly over its target audiences’ heads but keep their adult chaperones from dozing off.

Comes across as Almodovar lite, but the film, from director-screenwriters Ines Paris and Daniela Fejerman, offers some pleasures along the way, including an engaging performance by Leonor Watling ("Talk to Her").

Slow and talky but suffused with insight and intelligence, the film is another noteworthy effort from the writer/director of such intriguing if unfortunately little-seen dramas as Glass Chin and Sparrows Dance.

Another highly entertaining portrait of attractive young Europeans looking for personal and professional fulfillment amidst gorgeous locations.

Pyewacket is a slow-burn chiller that is all the more impressive for its subtlety.

The film comes off as more of a succession of self-contained comedic vignettes than as an incisive portrait of a woman vainly trying to have it all. But Plumb’s plucky, eccentric character is so winning that you find yourself rooting for her nonetheless.

It offers a much needed personal perspective on a subject that is too often reduced to political arguments.

While the film loses focus along the way, it has enough moving and powerful moments to make it a worthy entry in an increasingly crowded genre.