James Berardinelli

It has been argued that for characters to be three-dimensional, they must have a past, a present, and a future, not to mention an arc. The Merry Gentleman offers a counter-argument for those who would dispute this.

As horror movies go, Boarding School is worth seeing simply because it’s different. Not weird, off-the-wall different like mother! or Hereditary, but different in a good way.

To date, no motion picture has adequately captured the soaring highs and devastating lows associated with a long distance relationship, but Going the Distance comes as close as any movie has.

The absence of a strong narrative is the film’s weakest aspect. The Coens are so absorbed by their mimicry that they don’t invest a lot of effort in the connective tissue.

The bottom line is that viewers who enjoyed Deadpool will almost certainly enjoy Deadpool 2, although perhaps not quite as much.

Aside from the likable performers, Forces of Nature's greatest strength is that it flouts several established conventions of the genre.

Paddington 2 is a charming early-year offering and, although the main character is better known in the U.K. than the U.S., no cultural leap is required to fall in love with the bear and enjoy his adventures.

A drama about isolation and communication, The Band's Visit is characterized both by strongly delineated characters and low-key comedy. The movie is not lightweight but it is at times lighthearted.

With its offbeat blend of warped humor, dramatic and horror elements, social commentary, and Talking Heads, Dream Scenario may not always be comfortable but it is undeniably provocative.

Vincere is Ida's story, but it says as much about fascist Italy and its ruler as it does about the central character.

Costner, who has never been the most emotive of actors, is perfect for this role.

This brash, glitzy, energetic entertainment has the power to hold an audience enraptured, but, at the same time, there's a sense that what we're experiencing is just candy for the eyes and ears.

A workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. But there's nothing extraordinary about the movie.

The only thing of real importance in A Man of No Importance is Albert Finney's performance.

DiCaprio wears the persona of Hoover with ease, again reminding audiences that the young man who made so many girls swoon with Titanic has grown into an actor of great range and capability.

The inevitable sequel, arriving three years later, isn't as giddily entertaining as its predecessor but much of the charm remains, making this an ideal destination for a family excursion.

Saw is for hard-gore horror aficionados only.

The acting by Scarlett Johansson is so raw and sincere that the film leaves an impact despite its deficiencies.

Camilla Belle is an impressive newcomer - this could be her breakthrough appearance.

Whether it works as a traditional motion picture is up for debate. However, it’s short enough (about 90 minutes) that it never overstays its welcome and is generally a fun, wild ride, even though it may at times be difficult to figure out where the journey began and where, as the 1964 Chevy leaves the streets like Doc’s DeLorean in Back to the Future, it ends.

In addition to telling an involving story, This Is England is insightful and informative.

The key to the film's success is that it uses the burned out premise as the springboard for a comedy, not an action flick.

An effective character study of a figure who has attained an almost-mythical status among track-and-field followers.

Despite a number of narrative holes, The Long Walk succeeds largely on the strength of its performances.

This is not a "nice" movie -- it deals with some pretty intense issues (like incest and suicide) -- but it is both bold and inventive, and works because of an unforced approach.

Tropic Thunder understands movies, understands the system in which they are created and, most of all, knows what it takes to make an audience roar with laughter.

A respectable and satisfying historical romantic melodrama.

After a slow-burn first hour, the movie cranks up the octane with plenty of blood, guts, and bullets. The final 20 minutes feel a little sloppy, with one twist too many and an unfocused ending that may be optimistically hinting at a sequel, but everything else is solid.

The emotional resonance that results from the focus on several unique individuals is what makes this a worthwhile viewing experience.

Through a mixture of imaginative storytelling, impressive animatronics, and irresistible cuteness, Babe casts a spell over all viewers -- young, old, or somewhere in between.

For those who enjoy ghost stories and are willing to be patient with a movie that gradually unveils its secrets rather than uncovering them all in an orgy of violence and terror, The Orphanage fills a need. The spell it casts early does not evaporate until the epilogue is finished.

Paradoxically, there's a lot less gore. There is blood, of course, but nothing excessive by slasher-movie standards, and there are no depictions of spilled entrails. Craven has remembered that scares are more important that graphic displays of human insides and bodily fluids.

Appealing and genial with plenty of solid laughs, and worthy of a recommendation for those who appreciate this kind of thing. Just don't expect material that's edgy, dark, or challenging. Consider Love Actually the antidote to "Mystic River."

Solidly entertaining.

Despite flouting Hollywood clichés, it nevertheless manages to be both romantic and funny even though it starts with the separation of the main couple.

Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."

Russell is the reason to go to the theater. He will continue to hold your attention when things around him -– like the storyline -– lose steam and credibility.

Almost paradoxically, 2010 may be unnecessary, but it is nevertheless a worthwhile effort.

For those who appreciate the genre, this is a better-than-average merging of technical craftsmanship, narrative coherence, and competent acting.

Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.

The strength of the cast assembled by Australian-born director John Hillcoat is eye-opening.

This is the sequel Halloween fans have been awaiting for four decades. With John Carpenter whispering in his ear (the original director returned in an “advisory” capacity and as co-composer), David Gordon Green has taken the series back to its roots.

It's not as endearing as "Moonrise Kingdom" but not as tedious as "The Darjeeling Limited." It offers an engaging 90+ minutes of unconventional, comedy-tinged adventure that references numerous classic movies while developing a style and narrative approach all its own.

Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.

Reese Witherspoon's unglamorous, understated supporting work recalls the kinds of films she made before becoming a movie star. Other recognizable faces include Sam Shepard, Joe Don Baker, Michael Shannon, and Sarah Paulson.

It’s a well-made, serious drama arriving in an era when those qualities rarely describe multiplex fare.

A celebration of Mr. Rogers and the healing capabilities of his words and doctrine, the movie may not be a splashy as many of the year-end multiplex stocking stuffers but the experience it offers tugs effectively at the heart strings.

Mission: Impossible Dead Reckoning Part One is an oversized, big budget popcorn flick, with all the positives and negatives one associates with that sort of glorious but ephemeral brand of filmmaking.

Empire of the Sun remains a solidly engaging story of heroism in the face of adversity, as filtered through the eyes of a boy obsessed with planes and flight.

Even though it is rather obviously trading on a familiar and beloved brand, Wonka is nevertheless a fun and imaginative family film – certainly better than one might expect from a production crassly viewed by some as a “cash grab.”

Jungle Cruise runs about 15 minutes too long (what else is new these days when 2 hours has become the new 90 minutes?) but mostly offers a fun, breezy journey. It may not be another Pirates of the Caribbean but it exists as a reminder that inspiration can come from unusual places.

Jim Henson's creations have always appealed on more than one level, offering adorable playmates and positive messages to children and surprisingly sophisticated humor to adults. MUPPET TREASURE ISLAND, the fifth big screen feature to star Kermit the Frog and friends, and the second directed by Brian Henson, delivers exactly what fans -- young and old -- expect.

The surprisingly intimate result is enjoyable in the moment but the mental footprint fades rather quickly.

An atmospheric period-piece murder mystery, The Limehouse Golem combines elements of Sherlock Holmes and Jack the Ripper into a Victorian-era gothic stew that, although perhaps not as ultimately satisfying as it might have been, nevertheless provides for an unsettling two hours.

The slow, uneven beginning is more than compensated for by the rousing climax.

Call Me by Your Name, the latest film from Italian director Luca Guadagnino, is a study in mood and emotion. It’s about living in the moment and capturing that moment. It’s about using the canvas of film to convey to the audience the inner feelings of the characters. Call Me by Your Name is short on dialogue and long on emoting.

As a dramatic thriller, it does what it needs to do to keep the audience involved and interested, even if some of its most theatrical tricks and twists are more the products of a writer’s invention than actual Washington D.C. activities.

These are fascinating, three-dimensional individuals brought into the foreground by a pair of today's finest actors.

The result is an entertainingly sudsy trip through early 16th century English history.

How to Train Your Dragon represents solid family entertainment even if it feels like it’s tracing over an existing pattern rather than developing something new.

El Cid is about as self-important as a motion picture can be. Regardless, there are still moments of breathtaking, almost transcendant splendor, when the film makers attain the grand aspirations they strive for.

The film functions as a time machine to take the viewer back to when (s)he watched “Mr. Rogers’ Neighborhood” on television and re-introduces the man who functioned as a friend/mentor/father-figure.

It’s an attempt to wed philosophical science fiction concepts with bloody horror - a dubious endeavor that somehow works. The movie doesn’t seek to be a mindless gore-fest but neither does it show restraint when it comes to violence.

Uses drawn images to peer into the dark corners of teenage life: bullying, self-loathing, and depression.

Gruesomely engaging.

I wanted to love Sinners more than I did but the energy level is so infectious that it’s impossible not to get swept up and pulled in. It’s a sloppy concoction that carves out a new niche for vampires not unlike what Let the Right One In achieved.

As it currently stands, Kill Bill is a victim of its director's ego and its distributor's greed. The moments of greatness make it worth seeing, and there's certainly plenty of entertainment to be found here, but it's hard not to lament what might have been.

It's not a stretch to say the movie works in large part because of the charm and sparkle of the three leads: Ewan McGregor, Emily Blunt, and Kristin Scott Thomas.

An accomplished film that uses dark humor to leaven its serious topics.

It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

Despite being saddled with bad prosthetics and a ridiculous wig, Diesel displays more acting ability than in the testosterone-soaked genre where he has carved out a niche.

There's nothing special, shocking, or precedent-setting about the film, but it functions on a level that 007 fans will appreciate - as eye and ear candy for those who prefer action to exposition and character development.

Double Lover may not represent Ozon in peak form but it’s too weirdly entertaining to dismiss out-of-hand.

If there's a drawback, it's that the plot is trite. Hero is an exemplary example of visual poetry. The narrative is clearly of secondary concern.

While it’s easy to quibble about the choices of omission and inclusion made by screenwriter Tracey Scott Wilson and whether a more adventurous, unconventional approach might have been a better fit for the central character’s personality, Hudson renders such criticism moot. Her performance as Aretha Franklin is more than worth the price of admission.

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

An infectious mix of romance, mystery, and magic.

Despite the many laughs Love and Death offers, it never takes cheap shots. It has a vibrant, beating heart - and that makes the comedy all the more worthwhile.

Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.

There's something to be said for the power of a classic, even if it has been given an imperfect makeover.

Holofcener has an ear for dialogue, and, as is often the case with the best character- centered films, a chief pleasure is simply enjoying what the participants have to say to one another.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

The biggest weakness of the novel is characterization, and the same flaw is fully evident in the screen adaptation.

For two-thirds of its running length, Zack and Miri is vintage Smith - profane humor that knows no boundaries and obeys no rules. What's most amazing about Smith's barrage of hard-R jokes isn't the range of subjects he covers, but how few of them "miss."

Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.

It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.

The supercharged CGI effects are fine and the battles are eye-popping, but the character interactions make No Way Home work.

It’s breezy and fun and, like its predecessor, relies more for its appeal on nostalgia and familiarity than a strong narrative thrust.

Will Smith gives his all in a role that requires him to undergo a subtle physical transformation, adopt a credible Nigerian accent, and provide a controlled, modulated performance.

A lively, crowd-pleasing story with heart to go along with the glitter and glitz, it’s better than a lot of what’s currently available.

Abetted by a strong lead performance from actress Felicity Jones, the film stands as a monument to gender equality at a time when that subject has become a hot-button issue due to the upheaval associated with the “#metoo” movement.

The story is quirky and offbeat but the dialogue and acting set Joy up as an engaging late-year repast.

With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.

A bloody fairy tale with no moral and a lot of juice.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

The Paper is a crowd pleaser, and, regardless of any viewer's experience (or lack thereof) with the behind-the-scenes wrangling that goes on in newspaper offices, the story is affable and entertaining. While there are no startling revelations, the film's atmosphere contains enough strength of realism that more than one viewer may momentarily think of the goings-on at The Sun as they sit down with their morning cup of coffee and look at the day's headlines.

The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.

A fun-but-uninspired swords-and-sorcery story.

Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.

The result, for those who can overcome the substantial “suspension of disbelief” hurdle, is engrossing and unsettling. As ridiculous as the premise might sound, the film is not easily forgotten. It lingers.

Admittedly, Mother has a weak beginning and ending, but the material in between is what makes it worth watching. This probably isn't the funniest or most inventive comedy of the year, but it gets high marks in both categories.

Liberal Arts is a parfait - a light, enjoyable concoction that goes down easily but doesn't linger. The movie is great "in the moment" but may be difficult to recall with any specificity after time has elapsed.

Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.

Because of the dominance of the central figure and the way in which The Cruise has been assembled, it functions more as a character study than a travelogue, and that makes for an engaging time in a darkened theater.

While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.

So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.

The movie carries a mild PG rating but may be too intense for younger children.

The short running length is a benefit because it means that Mile 22 doesn’t stick around long enough to wear out its welcome – a too-often evident problem in films of this sort.

Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.

A solid motion picture with a universal message and occasional splashes of genius, but it is remarkable only as Holly Hunter's performance is concerned.

Highlighted by an awards-worthy performance by Saoirse Ronan and structured around a light, witty script by Gerwig, the movie delivers a well-targeted snapshot of a year-in-the-life of an ordinary high school senior.

Taken as a whole, Shallow Grave is a reasonably enjoyable (for those captivated by this sort of thing) black comedy/noir thriller that justifies at least a portion of the praise being heaped upon it from overseas.

While Cheryl's journey is interesting, it isn't as compelling as the one embarked upon by Christopher McCandless (Into the Wild). The most arresting aspect of Wild isn't Cheryl's perambulation along the 1000-mile long Pacific Crest Trail but the memories that percolate to the surface as flashbacks.

Brian and Charles is a pleasant diversion, offering a few hearty chuckles along the way to an uplifting ending.

The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.

The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!

Summer Hours attracted two of France's acting luminaries, and their presence elevates the material. Charles Berling has the central role; the movie is largely told from his perspective. Juliette Binoche, with blonde hair, has a secondary part.

The New World is beautiful and lyrical and, except for the ill-advised voiceovers, a treat for more than one of the senses.

Gary Oldman’s portrayal of Churchill is among the best to reach the screen. With the help of makeup, Oldman immerses himself so deeply in the role that the actor disappears.

Those who don’t appreciate films built on the simple foundation of two characters (mostly) talking for the entire running length aren’t going to enjoy what Good Luck to You, Leo Grande is selling, even if sex underlies nearly every passage of dialogue. The movie is funny at times and touching at others but it’s never especially erotic (nor is it intended to be).

It celebrates art, hope, and dreams, and you don't have to like hip-hop to appreciate the message or the way in which it is delivered.

The vision of director Alex Proyas lifts this film above its sad history.

There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.

Happenstance represents an intriguing meditation on the unseen forces that no one can escape.

As common as the plot might be, the manner in which the film approaches at the subject is decidedly different. Leslie Harris brings a gritty perspective to this story that illustrates it isn't just boys who suffer in the hood.

Never pretends to be something that it isn't. Oh, there are costumes, to be sure, but that's just to facilitate the setting of the 18th century. Anyone who mistakes this for a costume drama is not aware of what kind of film they have ventured into.

The strength of Push is its relentlessness. The movie doesn't pause for anything and, when it provides exposition, it does so without bringing the action to a grinding halt.

When it comes to The Raid: Redemption, there are no pretentions. Pure and simple, this is about violence. As we used to say, "kickin' ass and takin' names."

It is difficult to deny Nell's intelligence and sensitivity. We approach this story with the same fascination that Nell faces each day, seeing, if only for a short time, how different the world -- and people -- can be.

For the most part, Safety Not Guaranteed is a pleasant viewing experience, but there is a flaw. While Darius is bonding with Kenneth, Jeff is reconnecting with his past. This subplot goes nowhere.

Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.

Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.

Coulter is a TV veteran but a motion picture newcomer. His work here indicates he is someone to watch. The pacing is slow and deliberate, but the story never ceases to intrigue.

We Are Marshall is precisely what one expects from a true sports story: it's uplifting and inspiring.

With a cast like this, one has a right to expect something amazing, so the fact that We Own the Night is merely "entertaining" might cause disappointment in some quarters.

As a satire and an off-the-wall comedy, Bubba Ho-Tep hits the bullseye. As a horror movie, it's less successful. Maybe we're too busy laughing to be scared.

Black Sea contains its share of fantastical elements and the ending in particular evidences gaping holes of logic and physics but, as a "refrigerator film," it works well.

The film is more than a little odd but it has fun with its offbeat premise and moves along breezily until it gets bogged down in the third act.

A Girl Like Her offers an emotionally honest examination of an important and often overlooked societal problem.

A dark satire that skewers privilege and eviscerates the famous, the wealthy, and professional critics (gulp), this film from prolific TV director Mark Mylod takes no prisoners.

Unfortunately, the running time is too short for us to get to know, or care about, the characters in a way that would make the film's themes strike a responsive chord.

The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.

This is a pure popcorn movie -- the kind of film one can unabashedly enjoy for what it is. There's plenty of visual flash and dizzying action, but not at the expense of the other qualities that make for a complete motion picture experience.

The Wave’s centerpiece is a critical ten-minute span between when the rockslide occurs and the wave reaches civilization. Played out in real time, this is a period of sustained and effective tension. It’s real, raw, and ragged.

A classic example of a pedestrian motion picture being lifted out of mediocrity by an arresting lead performance. Zooey Deschanel doesn't just elevate Winter Passing; she carries it.

Charlotte's Web has all the requisite elements that a family film needs to succeed and endure: humor, drama, pathos, and an emotionally satisfying ending.

It's not a great film, but it succeeds in being both tender and cathartic.

Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.

My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.

Offers nothing more spectacular than a character study. And, although The Good Girl's protagonist may be trapped by routine, that's one claim that can never be made about the movie.

While there's quite a bit more graphic bloodshed and brutality here than in any of the late screen icon's vehicles, Payback is a worthy '90s successor to his kind of movie.

War Horse's primary attraction is not the story of how it makes us feel but its impressive re-creation of the Great War's battlefields and some stunningly beautiful camerawork by cinematographer Janusz Kaminski.

It requires only four words to describe Earth: glorious photography, annoying narration.

Overall, this is a well-acted peek back in history to an era when scientific and engineering techniques currently taken for granted were in their pioneering stages, impelled forward by humanity’s insatiable desire to explore and conquer new vistas.

Babygirl is perhaps not as gloriously, guiltily entertaining as some of the films Reijn used as models but it offers its own pleasures.

As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.

The high production values, excellent acting, and strong writing make this a cut above what is often accorded this sort of release pattern. For those intrigued by the material, it’s worth seeking out.

Blinded by the Light is a one-third Bruce Springsteen hagiography, one-third kitschy ‘80s recreation, and one-third feel-good father/son coming together. Surprisingly, however, it works.

Del Toro's filmmaking instincts are solid and he makes this an engaging 150-minute journey, but when it was over, I never felt I had truly explored something fresh, and that was a mild disappointment.

Moments of light comedy keeps the tone from becoming too heavy without sabotaging the movie's dramatic underpinning.

Not great Disney but good enough to engage viewers young and old.

Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.

After starting with a lackluster introduction and a by-the-numbers heist sequence, the film concludes with an upbeat and appealing final act that recalls "Big Night."

The result is solidly entertaining - not quite as good as "Horton Hears a Who" or "How the Grinch Stole Christmas" - but unquestionably better than "The Cat in the Hat."

Oddly, the filmmaker best known for his Valentines to New York, Woody Allen, is not participant.

The Green Knight has its share of flaws but there’s a freshness to Lowery’s approach that demands to be noticed.

For those who enjoy Anderson’s patented quirkiness, The Phoenician Scheme doesn’t disappoint. Assembled with the abettance of longtime friend and collaborator Roman Coppola, Anderson has almost completely dispensed with a conventional storyline in service of a movie that delights in parodying seemingly anything and everything.

Though there are some narrative hiccups, its emotional core elevates it beyond mere cringeworthy gore.

One of those rare films whose historical impact outweighs its quality. It's a good film, but not a classic. Yet, although little more than a socially conscious, well executed science fiction adventure film, Planet of the Apes arrived in theaters at just the right time to capture the country's imagination.

Cavalcade's anti-war message is presented with more subtlety than that in Wings and All Quiet on the Western Front. The story is more concerned with the potential of death than it is with actual tragedy - how those left behind live in a constant state of anxiety, never knowing if their loved one is going to appear on a casualty list.

There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.

Keeping in mind the limitations imposed on the production by the running time, All the Old Knives offers a compelling (if ultimately unremarkable) spy movie that tilts more toward a drama than a conventional action/thriller.

Although there are some structural and pacing issues, the film as a whole works by doing David Lynch’s favorite trick: finding the rot underlying the seemingly placid exterior of small town America.

The extreme nature of the gore isn't beside the point - it is the point. Raimi goes so far over the top in presenting these displays that they take on a campy, almost humorous appearance. It's impossible to take all this blood seriously. So, instead of being sickened, we're strangely amused - and this is all intentional.

It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.

Hall Pass isn't by any means flawless, but its ability to integrate extreme scatological humor with moments of genuine feeling is rare.

Whedon has made the Bard accessible and that achievement places him alongside Branagh in the exclusive club of directors who can handle both superheroes and Shakespeare effectively.

As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.

This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.

Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.

The acting is superb across-the-board, with the three younger performers deserving accolades.

It retains the occasional power to mesmerize and amaze.

The Spanish Prisoner is for anyone who likes to think and feel along with the characters.

It's simple and well-told, although nothing about it is breathtakingly original.

A highly satirical work, albeit without the "in your face" style of "South Park."

There are no big-name stars. Barbara Serafian, who is excellent, has a thin, eclectic resume. She looks a little like Frances McDormand.

Away We Go is not as dramatically wrenching as "Revolutionary Road," but it's unquestionably more enjoyable.

The Dirty Dozen flows nicely, keeping things moving and drawing the audience along in its rapid current

Caught Stealing gives [Aronofsky] the right canvas, and he delivers with enough style to lift the film above the B-movie neo-noir roots of its screenplay.

Unchallenging but easy to like. There's not enough here to capture the interest of those indifferent to romantic comedies, but fans - even of the casual variety - will find this to be a pleasant mid-summer diversion.

Tonally, Hope Springs is closer to Alexander Payne than Meyers although Frankel does his best to keep things from turning too dark.

The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.

Mortal Engines, the movie adaptation of Philip Reeve’s YA novel, represents one of the most impressive examples of “world building” in recent years, surpassing such contenders as Valerian, Cloud Atlas, and even the recent Star Wars episodes.

The acting, especially by the male leads, is superlative.

In order to appreciate The Ruins, one has to be a die-hard fan of horror or bloody thrillers. Those in that category will discover that The Ruins delivers the goods.

There are also plenty of background sight gags that often go unnoticed on a first viewing.

For romance junkies, the film checks all the boxes. For those who want a little more, it comes complete with a smart script, likeable leads, and a willingness to occasionally tweak a trope or two. My only complaint about Plus One is that the ending feels a little rushed.

This is a fun, funny trifle that deserves to be enjoyed on its own terms – a throwback that only feels old when that serves its purposes.

From an acting standpoint, Blake Lively makes a compelling case that she doesn't have what it takes to play this sort of a role; she lacks the chops to carry the elements of the movie in which she is expected to dominate.

The Hundred-Foot Journey represents a pleasant diversion for those who have grown weary of traditional summer movie fare. The picture is about people and how they interact. There are no explosions or car chases.

The film's climax is nothing short of hilarious. And Death at a Funeral doesn't discriminate when it comes to the type of humor it embraces it. Everything is in there, from physical hijinks to verbal repartee to naked man jokes to drugs and gross-out stuff.

Nickel Boys has a lot to recommend it, but there’s a sense that the experience could have been more devastating had the filmmakers simply let it play out rather than using it as an opportunity for directorial flourishes and experimentation.

Yes, the ending is weak, and there are aspects of the story that don't stand up to scrutiny, but this is the kind of effectively-crafted, well-acted motion picture that rises above its faults to earn its "classic" appellation.

On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others.

Prometheus is the antithesis of the "big, dumb summer movie." Its visuals and special effects can stand toe-to-toe with any of the season's spectacles, but are audiences ready for something with an intelligent, thought-provoking screenplay where the action is secondary? Prometheus is flawed, but stupidity cannot be numbered among its missteps.

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

John Wick is a rousing action thriller of the sort rarely encountered in theaters these days. The once popular genre, which was headlined by the likes of Stallone and Schwarzenegger during its heyday, has been a dying breed during the past two decades.

As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.

Lee's primary objective is to reflect back and offer a uniquely personal perspective of that single day last October. This viewpoint, which ultimately transcends the movie's flaws, is one of the aspects that makes for a worthwhile two hours.

When focusing on the micro-verse inside a news van and the four passengers taking the trip, Civil War does a good job dissecting the damage done by a desensitization to violence. But it botches the background and features an ending that belongs in another movie (preferably one featuring Gerard Butler).

In this motion picture, Oliver Stone presents his vision of the forces that drove and motivated the late President. And, factual or not, there's no denying that Nixon has moments when it is nothing short of compelling.

Works on its own terms, which is more than can be said of most horror films these days. If this is the kind of movie you're looking for, it delivers.

This isn’t just another “cancer movie.”

The 2014 iteration isn't as good as its 1974 predecessor but it offers its share of small pleasures, not the least of which is the crisp, sharp dialogue that never loses its punch even when it veers close to the edge of pretentiousness.

This is post-apocalyptic adventure as imagined for a teen crowd, and what it lacks in depth it makes up for in action. With a slight running time of 80 minutes, 9 doesn't contain an ounce of fat on its animated bones.

The film has more charm than the average romantic comedy, but, when considered from a bare-bones perspective, it follows most of the rules that define the genre.

For the first time in three films, Roger Moore starts to unearth a personality for Bond.

Will work better for younger viewers than older ones. There's not much plot to absorb and there's plenty of action, so this is the kind of spectacle that will appeal to those without long attention spans.

It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.

Cuteness is the watchword here. The dark, eerie atmosphere that oozed from every frame of "The Empire Strikes Back" is gone. Instead, for Return of the Jedi, we have good triumphing decisively over evil, a too-pat resolution to a love triangle, and walking teddy bears.

Although perhaps a little too long and not as tightly plotted as Rogue Nation, Fallout offers everything a viewer could reasonably expect from a Mission: Impossible production. It’s reliable.

Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.

Although ultimately a triumphant story, this biography doesn't see its subject through rose-colored glasses. It takes chances, and that's why it works.

Odd, playful, and sweet. It equates the boiling point of water for hot chocolate with the height of passion. With occasional surrealistic fantasy sequences interspersed between the commonplace goings-on of regular lives, the film weaves a subtle spell of enchantment -- until a disappointing conclusion.

My expectation is that Harry Brown will find its strongest adherents among those who remember Caine in The Ipcress File and Get Carter and are fascinated to explore his take on how that sort of character might have aged.

Despite its deliberate pacing, it moves quickly, in large part because of the extraordinary way that Kubrick builds and deepens the sense of dread. Even seemingly normal and innocent moments - such as Danny tooling around the corridors of the hotel on his Big Wheel (with the sound of the wheels echoing on hard wood and muffled on carpet) - are overshadowed by an encroaching sense of the ominous. Technically, The Shining may be one of the most perfect motion pictures I have seen. It's too bad that the same level of excellence doesn't extend to the performances and screenplay. The Shining is well worth experiencing, but it does not rank as a member of Kubrick's top echelon of cinematic achievements.

The Nest is an autopsy of the disintegration of the middle-class dream and its impact on those for whom it becomes a nightmare. It’s a rumination about the fragility of happiness. It’s a modern-day horror film with a spooky mansion, a body that refuses to stay buried, and demons that haunt not the benighted halls of the house but the unsettled corridors of the psyche.

Thus far, the 2021-22 roster of Disney/Marvel post-pandemic titles has struggled to advance the series beyond Thanos in a meaningful fashion. Although it’s questionable whether Thor: Love and Thunder changes that, it has a helluva lot of fun trying.

While this curious clash between a near-modern setting and the much older source material might seem confounding, it actually serves to energize the play, as well as making it more palatable to present-day audiences.

This more lenient attitude toward the original 1998 film has allowed director Niki Caro to be less reverent in her approach. The result is satisfyingly fresh. 2020’s Mulan follows the same general trajectory as its predecessor but numerous changes – some small, some large – have given it a unique identity.

It's a little along the same lines as "Ocean's 11" in what it achieves and, like that film, there's plenty of Oscar power among the actors - a combined 15 nominations, to be precise.

Although director Jason Reitman (son of Ivan, who made the first two) has done a solid job of satisfying multiple needs while turning out a passably amusing and affecting story, the limitations of the Ghostbusters formula are apparent. Ultimately, however, nostalgia remains the main selling point and viewers attending for that reason won’t be disappointed.

The film lingers, not because it’s enjoyable, but because it refuses to let go. It’s the sort of movie you admire for its daring and endurance but would never want to watch a second time.

While Muriel's Wedding has its moments of exhilarating humor, it is, as often as not, downbeat and even mean-spirited.

The pieces and parts assembled herein are familiar, but the manner in which Affleck puts them together results in an engrossing two hours of cinema.

Saint Judy has a serious agenda and, in service of that, it eschews action scenes, thriller elements, and conventional contrivances. It tells a worthwhile story and provides a primer on aspects of immigration law without becoming didactic.

Understands baseball and the men who play it, and, for a film about the sport, that's half the battle.

Not everything in City Island works - some of the secrets are obvious plot devices - but, in terms of feel-good, undemanding entertainment, this is as good as anything I have seen thus far in 2010.

It’s a step up from 28 Weeks Later but it remains to be seen whether Nia DaCosta is able to bring this chapter across the finish line.

The film makers understand that it's possible for a romantic comedy to appeal not only to the heart, but to the mind as well.

Made for the National Geographic Channel, Science Fair was devised as a television project. As such, it’s more than worthy of the time spent viewing it. The material is strong enough, however, that for those who appreciate documentaries of this sort, it’s a reasonable candidate for theatrical viewing.

Like a time-travel movie, but without the time travel, The Mothman Prophecies delights in playing with cause-and-effect relationships.

The white hats are stained dark gray as if by ashes and soot. The villains are twisted, cruel, and vile. The heroes aren't much better.

The Book of Life represents Guillermo del Toro's most hands-on foray (to date) into the realm of family friendly entertainment; this is closer in tone and sensibility to one of Tim Burton's offbeat animated films than one of Pixar's more "vanilla" productions.

The film is unusual not so much because of its content - the man vs. nature story has always been a popular one, whether in print or on film - but in its restraint. Putting an actor, even an accomplished one such as Redford, alone on screen for more than 90 minutes is a risk.

Paranoid Park is a rare breed: a movie about teenagers in which the characters talk like real teenagers, act like real teenagers, and are played by real teenagers.

While the movie will play as well at home as in a theater, it offers the kind of heart-warming, thoughtful, and occasionally amusing story that’s badly needed in troubled times.

Oozes atmosphere. The humor keeps it from becoming too creepy, but there are still a few chills to be had.

Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.

Unfortunately, the generic bio-pic structure of 42 prevents it from ever becoming something great.

Max is a throwback of sorts - a movie about the relationship between a boy and his dog. Lassie springs to mind as the genre classic, but this has a closer kinship to Rin Tin Tin. Although its sensibilities are old-fashioned, the movie offers a modern look and feel.

St. Vincent may be a little kinder and gentler than the likes of "Bad Santa," but there's enough inappropriate behavior and comedic friction to fuel an entertaining 103 minutes.

Those for whom Spirit was made will find this to be a thoroughly enjoyable production. As a "kids' movie", Spirit is a resounding success.

Stoker is deliciously demented, and that's a good thing. This twisted coming-of-age tale takes us into "Carrie" territory without the supernatural element.

Although the level of manipulation is several notches higher than in the Swedish original, A Man Called Otto boasts fine performances from Tom Hanks and Mariana Trevino and offers the kind of crowd-pleasing arc that runs counter to the prevalent mood of worldwide cynicism.

It's lighter, brighter, funnier, faster-paced, and a whole lot more colorful than before.

The story introduces interesting new wrinkles and the ending, when considered in the context of a trilogy, makes this movie feel less like an extraneous add-on than a part of a larger tale. There’s really nowhere else to take the franchise, however. With this sixth installment, it’s over.

The Blackening is a flat-out satire from frame #1, and there’s nothing wrong with that. It’s a breath of fresh air in what has become a very stale multiplex atmosphere.

Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.

Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.

Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.

There are enough laughs to justify it being labeled as a comedy but a stronger storyline than one normally associates with this kind of film. It's an enjoyable diversion amidst the big guns of summer.

Whatever social statement Ordinary People was making about its time has evaporated during the intervening years, leaving behind an open, honest drama lacking the emotional punch that would make it unforgettable today. Ordinary People should be devastating, but it's not. By any standards, it's still a good movie, but three decades have stripped away any pretense of greatness. [21 Feb 1999]

An effective period piece thriller that incorporates love, lust, desperation, and madness into a stew thickened by a gothic atmosphere.

The equation of "drugs+booze+sex=happy ending" applies. Then along comes Harmony Korine with Spring Breakers and subverts an entire genre.

Although the movie has a conventional structure, the straightforward chronological approach works for this material, allowing the viewer to come to know Cabrini and become invested in her efforts to develop an orphanage, first in New York’s Five Points slum then in rural West Park.

The movie does everything LARGE, whether it’s an action sequence or an emotional connection. By the time the 3-hour running time has expired, most viewers will be exhausted from the nonstop energy of the experience.