Gregory Ellwood

Despite the efforts of Hopkins and an outstanding ensemble, Zeller can’t divorce his feature directorial debut from its theatrical origins.

There are two things that make this movie stand apart: Metcalf and Gerwig.

The picture is genuinely entertaining and moving, but the fact it even exists in the first place is something you simply cannot dismiss.

Greta is one of those thrillers where you see almost every twist coming, but the actors are so into it that you still get sucked in.

Where it surprises is in Bell’s fantastic performance and the fact it eventually stops becoming a laugh out loud comedy. It soon dives into much more of a heartwarming drama with a few random jokes thrown in.

The conflicts are obviously real, but there is something about the tone that’s just off through most of the picture.

While Bening is incredible playing a fading Hollywood starlet in Paul McGuigan’s Film Stars Don’t Die In Liverpool, it’s her co-star, Jamie Bell, who might be the film’s real secret weapon.

It’s not acknowledged enough how difficult it is to make a period piece that doesn’t feel staged or performative. Nichols genuinely captures the spirit of this particular era and keeps your attention even if you never gave a second thought to those packs of bike riders passing you on the highway.

Styles, night and day here compared to his work in that other fall release, wonderfully inhabits a working-class man fearful of public scrutiny but unable to hide his true self.

Karia has Ahmed’s impassioned performance, one of his best, a committed and talented cast, often stunning visuals from director of photography Stuart Bentley, as well as his own imaginative staging to captivate the viewer.

It’s super funny, the performances are natural, and the whole endeavor is beyond charming. It’s a movie clearly meant to fit into the studio comedy mold, so it goes down easy.

Outside of the Berg’s incredible depiction of the Deepwater’s destruction and the escape of a majority of its crew, the picture also benefits from two fantastic performances by Wahlberg and Rodriguez.

Beyond the performances, this new “Macbeth” benefits from Kurzel’s inspired eye, the increasingly impressive talents of cinematographer Adam Arkapaw (“True Detective”) and Fiona Crombie’s period-loving production design. The world they have created for this tragedy may overwhelm, but it's certainly impossible to forget.

The filmmakers are beyond lucky to have the performances from Smith and Ellis, as well as Venus’ own incredible story, to keep you captivated when it matters most.

Simien’s strengths come to the forefront once again and that’s what makes it so difficult to pinpoint why the final product doesn’t exactly gel together as it should.

In the end it’s really Eastwood who makes sure the film transcends the typical biopic tropes. At a spry 86 it’s unclear how much longer he’ll remain behind the director’s chair, but “Sully” proves that with the proper material and actors he can still stir emotions with the best of them.

The combination of Thompson’s sharp delivery and Kaling’s commercially friendly script make the film’s charms hard to resist.

Minions lives and dies on its sight gags and luckily for Coffin and Balda they are almost non-stop.

The film is at its best when the storyline gets dangerously real and Bullock’s character struggles to justify the back room king making of a campaign with the needs of the country’s poor majority.

Loznitsa and his creative team have been meticulous in how every shot plays out. And as hinted earlier, the entire motion picture is meticulous to a fault. It’s only a somewhat twisty ending that saves the endeavor from blowing its relevance away.

Despite the melodramatic ending, you leave the theater wanting to root for the film and its characters.

Considering Redmayne’s achievement it’s almost shocking that you can argue Vikander gives the more memorable performance.

McKellen has been given a wonderful late-career gift in Steven Soderbergh’s The Christophers, a role that allows him to deliver one of his best performances in years.

California Schemin’ is an impressive calling card that suggests McAvoy shouldn’t make this project a one-time wonder.

You wish the film had a slightly more queer eye behind the camera (yes, that’s a genuine thing, Andrew Ahn’s “Fire Island” is an excellent recent example). Even for a major studio production, it might have helped. But if everyone around you is laughing, maybe it doesn’t matter. It probably means another Bros gets made which, hey, wouldn’t be a bad thing at all.

Dipping his toe into the not-so different motifs of Hollywood Westerns and telenovelas with a wink or two to some queer cinema classics, Céspedes has bold artistic aspirations.

Heavens, that masterful first half of filmmaking. That quiet, subtle love affair. That charismatic pairing between Mescal and O’Connor, which, for a moment, feels like a cinematic romance for the ages. Oh, I’ll pay a ticket just to experience that again, absolutely. But just that. Just that.

Overall, “Fighting” works thanks to Merchant’s witty screenplay, Pugh’s transformative performance, Vaughn’s inspired off the cuff one-liners (likely improvised) and a cast that clearly respects the Bevis family story.