James Berardinelli

Although targeted primarily for girls in the 12-to-19-year old range, there's enough truth about friendship, love, and life in The Sisterhood of the Traveling Pants to offer solid entertainment to almost anyone who gives it a chance.

Miyazaki may not have achieved the level of "Spirited Away," but he's still ahead of the curve.

This is a hard, challenging motion picture. It demands much from the audience, and repays that investment with powerful, engrossing drama that does not offer insulting, facile answers. House of Sand and Fog is gripping and unforgettable, one of the best movies of 2003.

This isn't a revolutionary or thematically rich motion picture, but it's a well-told story featuring solid performances and a nice sense of atmosphere.

While it’s possible to conceive a compelling story constructed out of the strands forming Joy Ride’s threadbare cloak, that narrative would require a better screenplay and a series of grounded, less ostentatious performances.

This is a solid family film material, although one suspects the children will get a little more out of it than their parents.

Granted, one wouldn’t expect a modern-day fairy tale to be socially conscious but there’s something so overt about this materialism that it stains the overall experience.

The Secret Garden combines drama, fantasy, and a little bit of light Gothic horror (the old house with its strange noises). The film is visually stunning, from the eerie insides of Misselthwaite Manor to the time-lapse photography of blooming flowers. Zbigniew Preisner's score adds to the atmosphere without ever becoming obvious or intrusive.

Let me start by saying that Hercules, Walt Disney Pictures' 35th animated feature, makes for good family entertainment. Good, not great. While this film is capable of providing a ninety minute diversion for both kids and adults, it's a far cry from such recent classics as The Little Mermaid, Beauty and the Beast, and Aladdin.

The film is fascinating and at times disturbing, but Winterbottom's arms-length style mutes any emotional impact.

Breakdown is the latest in a seemingly endless traffic jam of thrillers that opens strong but finishes abominably.

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.

Eastwood has crafted something that works both as a sports drama and as an examination of the birth pains of the racially unified South Africa.

Although competently made and consistently engaging, there's nothing special about this animated superhero origin story.

A muddle of a film - an overlong bore that either mistakenly thinks it's something more than a humdrum romance or has incorporated a variety of pretentions as window-dressing.

In the movies, romantic love conquers all. In reality, it's a little different, and that's what Gray is trying to show.

It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.

This is one of Levinson's best films, and the screenplay, co-penned by noted writer David Mamet (along with Hilary Henkin), is brilliantly on-target.

The most visually inventive comic book adaptation to make its way to a movie screen.

There’s more to this movie than offering fans an opportunity to wallow in the past. It gives the most complete portrait we’ve seen thus far of Nimoy, warts and all, as presented by the man who came the closest to knowing him.

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

Although not on the same high level as certain other chronicles of investigative journalism – All the Presidents Men (Watergate), Spotlight (Catholic Church sex scandals), and The Post (the Pentagon Papers) – She Said nevertheless offers many of the same qualities that made those earlier movies both compelling and memorable.

Well paced and energetic; it's unlikely to bore anyone.

The Best Years of Our Lives runs almost three hours, but it doesn't seem nearly that long. The film is so involving that there's no temptation to glance at a watch, nor a need to get a snack or take a bathroom break. In fact, when it's over, there's almost a sense of disappointment that there aren't a few scenes left hiding on the other side of the closing credits. The feeling of warmth and satisfaction that accompanies the conclusion is the hallmark of a great drama - a distinction that anyone who has seen The Best Years of Our Lives will apply to this landmark production.

It appears that Marvel has given up trying to broaden the tent. Although Thor: Ragnarok, the third film to focus on the exploits of the titular Norse God, boasts a lighter tone, when the flippancy is stripped away, it’s the same-ole-same-ole.

Breach is competently made but, aside from Cooper's performance, there's nothing here worth getting excited about.

Looks at isolation and the fragility of human relationships. It's a poignant, unsettling motion picture that will baffle those who have become used to Hollywood's compact, tidy endings.

Solid performances, an intelligent script, and sure-handed direction. The result is a movie that kept me involved from start to finish.

An agreeable, albeit uneven, experience. Parker should take note, however, that, in some things, size doesn't matter and bigger doesn't mean better.

By avoiding the temptation to rail against religion and instead offer an introspective and respectful look at it, Novitiate becomes that rare thing: a movie willing to show the flaws of Catholicism without dwelling on its negatives.

A sumptuous motion picture, a feast for the senses.

In large part because of a great beginning and a solid ending, this is one of the better entries into the series, at least on par with Final Destination 3 and 5 and far and away better than the others.

Into the Wild is a beautifully made motion picture and some of the segments (especially those with Hal Holbrook and those that transpire around "the magic bus" in Alaska) are powerful.

The plot is sparse. This is about acting, dialogue, and character interaction, not narrative.

If ever there was a movie more destined to become a cult phenomenon, I don't know if I can name it.

There are times when the comedy works, but the number of genuinely amusing sequences are outnumbered by those that, in trying to generate laughter, simply seem silly.

This is an American tragedy. Although the participants may be famous, the demons they fight in their intimate moments are familiar and relatable.

Eye in the Sky reminded me of "United 93" - not necessarily in terms of the subject matter but because of the apolitical, clear-headed manner in which it approaches an act.

The questions posed by Like Father, Like Son are universal in nature and the manner in which Kore-eda addresses them makes for superior drama.

As heist films go, Radford has crafted an engaging, if not especially memorable one, with Flawless.

Fair Play is a tidy, engaging thriller. It asks questions about the male ego and some of the difficulties faced by women ascending the ladder of power in a traditionally male-dominated field. But, although the movie has a message, it isn’t about the message. Instead, this is a tragic love story that devolves into something darker and, although it doesn’t qualify as a white-knuckle sort of movie, it exerts a magnetism that’s difficult to turn away from.

The length is the film's undoing. No matter how tantalizing the premise, overexposure leads inevitably to boredom.

The most disappointing aspect of The Iron Lady is that some of the most memorable hallmarks of Thatcher's time in power are glossed over.

Haunting and disturbing, Time is the kind of motion picture that gets under your skin and doesn't let go.

It’s solid, middle-of-the-road Pixar, not quite as good as some of their better sequels but superior to the Cars follow-ups.

Bright Star is a nice ode to the poet, the love of his life, and the period in which he lived.

Eventually, it had to happen: a computer-animated dud.

This is a superior motion picture -- an example of the pleasant surprise that can result when a skilled director departs from his usual style. By daring to be honest and unsparing, The Son's Room is meaningful.

A serviceable thriller - no more, no less.

The Fall Guy delivers where it matters – it’s a fun, uplifting excursion into big-screen escapism.

In short, by delivering the expected and doing so with style and intensity, it lands in the top tier of the nine Rocky universe movies, although falling short by a few titles from the pinnacle.

The movie drags at times, evidence that the too-generous 160-minute running time adversely affects pacing without resulting in a better-defined, deeper storyline.

Philip Seymour Hoffman is in fine form as a man teetering on the edge.

Arbitrage is actually a fairly straightforward thriller in the John Grisham vein. It doesn't demand that the viewer know the difference between a hedge fund and a hedgehog. Arbitrage also reminds us that thrillers do not have to be action-packed to generate tension.

Randy Newman's songs are catchy and are effective within the movie's context, but I can't see any of them having "legs" beyond the screen the way tunes from the earlier animated musicals did.

Jane Austen Wrecked My Life is too low-key for its own good and could have benefitted from a stronger connection to the titular author than the finished product delivers.

A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.

You don't have to be Catholic, or Irish, or even American, to "get it." Burns' language, despite originating on Long Island, is universal in appeal and meaning.

This is made for art-house viewers who prefer films that go in strange and unexpected directions, where a failure at least offers thought-provoking elements that can function as conversation-starters.

Lambert’s three-dimensionality elevates Wind River above the norms of the traditional crime movie so that, in addition to delivering the expected tropes, it provides a richer, more fulfilling experience.

Air feels less like an Oscar contender (hence the April release) than something designed to provide a solid two hours of nostalgic entertainment. It features strong acting and a well-written screenplay and the tone is kept on the light side.

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 Wings of the Dove is not a happy tale, but it is a vivid and unforgettable one, featuring multi- dimensional characters, beautiful cinematography, impressive set design, and accomplished acting.

The John Wick series, now on cruise control for its third installment, has fallen into a trap. The filmmakers have become so intent on delivering “more of the same” that they have lost all sense of proportion.

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."

Several flaws, mostly minor, keep Casino on a plateau slightly below that of the director's best (Mean Streets, Raging Bull, Taxi Driver, Goodfellas).

Kinetic, atmospheric, visually stunning, and mind-bending.

The film's adult leads, Naomi Watts and Ewan McGregor, give powerful, natural performances.

With its unique perspective on both the coming-of-age and thriller genres, the movie deserves to be seen by a wider audience than the one that normally frequents subtitled movies.

The issue may be serious, but the tone is lighthearted, and that, more than anything else, makes Super Size Me a palatable cinematic entrée.

I suppose High Art is as good a name as any for this pretentious melodrama, an often- diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance.

Five Fingers of Marseilles is simultaneously familiar and unique. As befits a film set in an isolated corner of the pre-and-post-Apartheid country, the movie incorporates its contemporaneous circumstances into the plot.

Could it be argued that the movie is “so bad that it’s good”? I suppose, especially if you’re a connoisseur of cinematic guano. For me, Death Race is merely bad. I wouldn’t worry about finding a way to append the word “good” to anything associated with this film.

Insultingly, Frankenheimer concludes the movie with a short sermon about the fine line that separates man from beast. If the director actually wanted to get this point across, he should have worked it into the film rather than tacking it on as an afterthought. It is, after all, an integral aspect of the source material. That it has been so thoroughly excised from the main plot isn't The Island of Dr. Moreau's only problem, but it's symptomatic of the flawed mindset that went into planning this occasionally incoherent and ultimately disappointing motion picture.

Like most rom-coms, it is comfort food although it lacks the fantasy element associated with characters who are less seasoned.

The Daytrippers is at its best using parody to paint an incisively humorous picture of a modern American family. We see here just how dysfunctional the typical nuclear family can be, and that "family values" aren't always the solution. Even though The Daytrippers is played primarily for laughs, there's a lot of truth lurking beneath the comic exterior.

There is a sense of formulaic efficiency here that provides entertainment without soul-stirring depth.

The grandeur of Big Sky Country, captured with majesty and elegance by cinematographer Giles Nuttgens’ lenses, provides the backdrop for an intimate story of tragedy and reconnection that is no less riveting than the terrain where it transpires.

It's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth a post-holiday expenditure of time and money.

Although parts of Emergency can feel like a bizarre cross-pollination of After Hours (Martin Scorsese’s 1985 chronicle of a nightmare road trip) and Weekend at Bernie’s, there’s more going on here. Despite the comedy, the screenplay poses some serious questions that can’t simply be brushed aside.

Designed primarily for those who are intrigued by theater, curious about Welles, or some combination of both.

Lovers of Dahl's book will almost certainly appreciate what Burton has wrought.

The problem with Rocket Science is that the character at the center of the drama isn't very energetic or, truth be told, interesting. This makes it difficult at times to remain engaged in the unfolding tale.

The movie not only represents the best effort from Eastwood since his Oscar-winning "Million Dollar Baby" but the finest acting we have seen thus far from two-time nominee Bradley Cooper.

Suffused with satire, wit, and the dry, tongue-in-cheek flavor of comedy one rarely finds in American productions, this stop-motion animated excursion pokes fun at pirate conventions while representing icons Queen Victoria and Charles Darwin as a bitch and a twit, respectively.

It's pretty much assumed throughout art and literature that the collapse of civilization will result in the rise of barbarism. That assumption underlies Mad Max, where the strong prey on the weak, and Max steps in to be the equalizer.

Although this film has more cracks than the collapsing tunnel, thrill-seekers in search of two hours of cinematic action will find that Daylight falls considerably short of being a disaster.

Isn't an especially good horror movie, it succeeds in enough different ways that such a defect hardly matters.

While the Peter Parker stuff is enjoyable, that’s only part of what the movie is giving us. Every time Peter puts on the Spidey suit, we know exactly what we’re going to get, beat-by-beat.

The acting is uniformly superb.

As with most slow-burn neo-noir movies, Sweet Virginia thrives on atmosphere. It oozes it from every frame.

An amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting.

The Killer is the kind of production that works both on the big screen and the smaller one (where most people will see it). It engages in a typically perverse Fincher fashion, exerting its pull as much by the development of the plot as by Fassbender’s magnetic presence, and proves to be one of 2023’s most disturbing, stylistic successes.

Some of the characters are interesting, but their situations are not.

Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.

As a well-acted standard-order bio-pic, Ferrari delivers but as something more, it falls short.

Visually, it's more impressive than Disney's “Toy Story.”

The movie's anti-climatic resolution in concert with the holes left by the occasionally untidy script result in The Lookout not living up to its promise. Compared to some of Frank's past projects, this is a tepid offering.

Seen exclusively through a narrative lens, there’s nothing special about News of the World. However, this is one of those movies in which the simple story is enriched by the elements that coalesce before, during, and after the production.

Although Big is generally lighthearted, it rarely plays for stupid laughs. There are a few of these, but the film avoids sacrificing character integrity for the cheap guffaw.

For a viewer in the mood for something rude, crude, and lewd, it would be difficult to find a more satisfying food.

The movie, which features numerous dead-end side-stories and glaring plot holes, is short on narrative and long on allegory.

One could easily argue that, like many Ed Wood-type bad movies, The Faculty might be headed for the cult classic shelf in the video store. Unfortunately, it's not campy enough, and, worse, it seems to think it's being hip when it's just being dumb.

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

The real reason to see Slam, however, isn't as much for the story as it is for the energy and tone. The moments when Slam soars makes the rest of it palatable.

The overall package, despite suffering from some third-act narrative problems, generally goes down easily and boasts a strong, lived-in performance by Shannon Purser (Barbara from the first season of Stranger Things).

Legend seems like a movie Scorsese might have made if he wasn’t paying attention - the elements are present but they are clumsily assembled and the outcome underwhelms.

It’s a surprisingly flat bio-pic of King’s life between 1972-73 with little attempt to make Riggs into anything more than a two-dimensional caricature/foil.

Ghost Protocol is big and brassy, doing many of the things its predecessors did but, in the words of Nigel Tufnel, turning them up to "11."

This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.

Sluggish, conventional, and almost completely lacking in energy.

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.

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.

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

Only a director in complete control can fashion something so effortlessly chaotic. What’s Up Doc? is one of the signature comedies of the 1970s whose throwback mixture of madcap hijinks and rat-a-tat-tat dialogue still works for a generation twice removed from its influences.

It’s a seamless continuation of the stories and relationships introduced in Zootopia, moving things forward without making any radical changes to the underlying formula—and that consistency may be exactly what audiences want from a return trip to this animated menagerie.

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

Rude, raunchy, uproarious, yet with elements that are surprisingly sweet.

For an American/international audience, perhaps the most important contribution provided by In This Corner of the World is one of perspective.

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.

May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.

War of the Worlds is not vintage Spielberg, and it's on the grim side for a summer action blockbuster, but it's worth the time and money invested.

The most important part of any thriller - even one as upper crust as this - is the resolution, and that's where Notes on a Scandal falls on its face. The ending itself isn't bad but the single act leading to it is unforgivable.

The Dig feels like a condensed version of a story that, given more time to breathe, might have been fascinating and emotionally effective.

To work, The Host would have required a visionary interpretation rather than the mundane telling that Niccol opts for.

The cinematic equivalent of cotton candy: certainly not unpleasant, but not especially satisfying despite the sweet taste.

For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.

The delicate air of romance that often makes this sort of film worthwhile is absent. French Kiss does it by the numbers, not from the heart.

Romanticizes gangland Chicago, but no more so than other films set in the same period. And, like almost every movie about the mob, this one deals with themes of family, loyalty, and betrayal -- albeit without the intensity of some of the great ones ("The Godfather," "Goodfellas").

As much a tale of the patriarchal suffocation of those who break from outdated conventions as it is a love story, the film gains much of its traction as a result of the performance of Kate Winslet, whose nonverbal acting represents one of the finest portrayals of her career.

Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.

Magic Mike takes itself seriously - not so seriously that there isn't room for a little humor, but this is not an excursion into cheesiness and gratuitous nudity.

Matt Ross’ screenplay occasionally stumbles (especially late in the proceedings) and the ending opts for a too-facile resolution but the director/writer offers moments of genuine power and pathos that make it easy to forgive the missteps.

Enjoyable for a movie in which pretty much nothing happens.

In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.

When it's over, the sense is one of deep satisfaction - of having gotten to know a family in a way few motion pictures allow.

Domino is a lackluster, hard-to-swallow police procedural with soap opera-ish subplots and flat characters.

This is off-the-beaten-path movie-making that calls attention to itself by how different it is from the cookie-cutter stuff playing next door while never losing the capacity to entertain those who enter this bizarre world.

Hardly a moment of Matilda can be described as either juvenile or condescending, and, compared with many of this summer's so-called mature features, that makes for a delightfully refreshing change-of-pace.

When Getty isn’t on-screen, the movie is a bit of a bore and it doesn’t help that Mark Wahlberg is woefully miscast and the thriller elements are anything but tense or suspenseful.

The devilishly clever script tries a lot of things. Not all of them work, but it's hard not to admire Whedon and Goddard for the attempts. This is definitely not your standard kids-get-slaughtered-by-zombies motion picture.

Although Killer Instinct is the better of the two parts, Public Enemy No. 1 is a worthy continuation, providing closure to a tale that was interrupted just as things were getting really interesting.

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.

At a time when many mystery thrillers fall apart in the final fifteen minutes, Headhunters maintains its integrity.

Imperfect as it may be, Bowling for Columbine is riveting stuff.

One of those films that does many things right, and that places it among the year's best period pieces. It's a cut above the usual BBC costume drama.

Is it a dark comedy with thriller overtones? Is it a serious message movie presented tongue-in-cheek? Is it an exploitative revenge film that uses a flippant style to undercut the darkness? In actuality, it’s a little of all of these and, although there are times when the movie’s approach seems scattershot and some of the tonal shifts can be jarring, the production as a whole feels rambunctious – a perfect concoction for the #meToo era.

Sabrina is playfully seductive, and will leave almost all viewers, even those as cold as Linus, with a smile on their lips and a warm glow in their hearts. [Review of re-release]

Love, Simon is charming and likeable in much the same way that heterosexual teen comedies can be charming and likeable.

Diplomacy will work for those who appreciate dialogue-based character films in which plot is of secondary importance. This is a showcase for acting.

Egoyan has taken a seemingly-simple story and woven it into a near-masterpiece, creating images and an atmosphere that establish the perfect backdrop for a tale of loss, grief, and eroticism.

This new interpretation does few things better than the original, and many things worse.

A Man for All Seasons offers an engaging, if somewhat dry, history lesson leavened with enough low-key drollness and powerful acting to keep it from ever becoming boring.

Although very little of what appears on screen could be classified as original (most of the issues have been addressed ad nauseum in science fiction since the days of pulp magazines), the modern spin is commendable even if the script could have used considerable tightening up.

Although mysteries remain, the film uncovers enough to re-enforce the maxim that fame and stardom can exacerbate rather than cure some ills of the soul.

The screenplay is written with a thinking audience in mind, the dialogue sparkles, the characters leap off the screen in full three-dimensionality, and the cliches are kept to a bare minimum.

Eventually, Seabiscuit settles into a nice rhythm, and, as it enters the stretch run, it exhibits all the necessary elements of a good sports movie. Like the horse it's named after, Seabiscuit has a lot of heart, and, in the end, that's what won me over.

Mulan effortlessly blends serious, comic, and cute elements into a whole that should entertain the majority of movie-goers, regardless of race, gender, or age.

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

A mostly failed attempt to merge sci-fi with satire, Mickey 17 suffers from a fragmented narrative and a scenery-chewing performance from Mark Ruffalo that belongs in a different movie (perhaps Poor Things).

This enigmatic and in some ways maddening motion picture has the power to haunt every viewer it reaches.

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.

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

The good news first: The Alamo is probably the most historically accurate depiction yet to reach the screen of the famous siege. The bad news is that "historically accurate" does not necessarily translate into "dramatically successful."

One Fine Day has a few enchanting moments, such as a scene where Jack sweeps Melanie off her feet (literally), then splashes around in a large puddle of water. However, as a romantic comedy, this is a spotty affair because it's not really funny or romantic enough. Keeping the leads apart might work for something like Sleepless in Seattle, where the intention is to develop an old-fashioned, long-distance romance, but, in a movie like this -- one that's being pulled in so many directions that it's coming apart at the seams -- it's a mistake. For much of its running length, One Fine Day lacks focus and direction, and that makes it one fine mess.

While Let Them All Talk doesn’t seem substantial enough to capture the attention of those who dole out awards at this time of the year, it’s not without interesting characters, smart dialogue, and some intriguing ideas about love, life, and art. And, as with almost everything directed by Soderbergh, there’s a compulsive watchability to the proceedings.

Although Oda’s debut offers glimpses of a potentially gifted director, the project feels unfinished and fails to match his impressive vision with an equally compelling story.

Superman Returns is not only a credit to the first two Superman movies; it may be the best of the series. Its combination of romance and fantasy adventure is unparalleled in superhero comic book-to-movie sagas.

The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.

Like Possessor, Infinity Pool is challenging and eclectic but it’s not one of those pretentious movies that’s weird for weirdness’ sake. The film piques the intellect and feeds the bloodlust while offering an experience that only a Cronenberg can deliver.

For anyone who wants a movie to feed their intelligence and imagination more than their eyes and ears, Pi is a solid choice.

While no one is going to place Costner alongside Laurence Olivier in the acting department, he brings a likability to Dunbar that many better performers might not have been able to match.

The Outrun avoids pretentiousness and the emotional stakes are so high that it doesn’t threaten to become boring.

There's something very old fashioned about the core ingredients of Wreck-It Ralph; these blend well with the "hip" elements. Still, I can't help but wonder whether this is all just one big product placement for something aimed at the home video market. It seems like a game designer's wet dream.

As simple and straightforward a movie as one is likely to find in theaters today.

And, while there's nothing revolutionary or extraordinary about the dramatic narrative, the subtext gives Winterbottom's movie its force.

Director Joseph Kosinski, despite being best known for handling the technical difficulties of "TRON: Legacy," shows the ability to push an audience’s buttons.

Hellboy likely won't be the best comic-to-screen adaptation this year, but, squared off against its early-season challenger, Marvel's "The Punisher," this is the winner.

This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.

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 2023 The Color Purple is a handsomely mounted motion picture and there are fleeting moments when it touches magic.

For those who hang in there long enough, Riff Raff delivers. I just wish the buildup had been more engaging.

Planes, Trains, and Automobiles is one of those rare movies that manages to mingle outrageous comedy and light drama in such a way that we aren't repulsed or offended by its simplicity and occasional mawkishness. It's a fine cinematic treat that doesn't demand much from a viewer, but gives back a lot, both in terms of laughter and good feeling.

Lightweight, although it exhibits enough heft for us to develop an emotional connection with the main character. I have always appreciated a smartly written motion picture, and, whatever flaws Igby Goes Down may possess, it is undeniably that.

Crumb is a rare and powerful documentary that completely absorbs the viewer and leaves an impression so blindingly clear that the afterimage cannot be blinked away even when the theater is far behind.

It's more heavy lifting than some will be willing to engage in but there's something welcome about a motion picture that doesn't hand out a dumbed-down resolution in a neatly wrapped package.

It’s a reasonable way to get out of the heat for a few hours and give your kid a treat but don’t expect to get as much out of it as you would if you were part of the under-10 crowd.

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.

Enjoyable, but it's a shallow enjoyment.

Not only is it a thrill-a-minute ride, but it has one of the best film villains in recent memory, a hero everyone can relate to, dialogue that crackles with wit, and a lot of very impressive pyrotechnics.

The special effects are first rate - not always the case with Star Trek movies, although Abrams has been given a budget the likes of which directors Nicholas Meyer, Leonard Nimoy, and William Shatner would have salivated over.

Famuyiwa dabbles in the teen sex comedy, the urban gangster story, and the fish out of water scenario. He gives us suspense, gross-out humor, a cute romance, and a sermon about the status of race in America.

There are moments of brilliance, but overall this is a bit of a chore—and the ending renders the whole enterprise kind of pointless. Of the director’s six English-language films, this is his biggest misstep and the one I’ve liked the least.

Because I so enjoyed the last 45 minutes, I'm tempted to recommend it. The problem is that you have to sit through an hour to get to the worthwhile parts.

Brandon has apparently inherited a great deal from his father both in terms of his filmmaking techniques and his taste in material. As science fiction, Possessor is a little disappointing – it does too little with a pregnant premise crying out for deeper inspection. As horror, however, it’s a rousing success – a shocking and disturbing gem that doesn’t betray itself by softening things during the final act.

Denzel Washington plays Denzel Washington, good cop. This isn't a great performance, but Washington wasn't brought in to show off his acting chops.

It’s a near-miss that offers a captivating atmosphere and strong performances to go along with an uneven tone and a climax that’s so overcooked that it bursts at the seams with unintentional humor.

It is being touted as “Miike’s 100th film” and, while one could argue whether the numbering is strictly correct, it’s close enough to be reasonable. Here’s to another 100.

While The Beta Test does a solid job of presenting Jordan as the kind of person ripe for a comeuppance and giving us a high-octane performance to go with it, the movie falls down when it comes to basic storytelling.

For those with a taste for outrageousness and an appetite for horror, there's no juicier meal than the Evil Dead movies.

There is a wealth of authenticity in the feel of the movie, as if Levine and/or his writer have endured some of this stuff.

Thirty minutes into Waiting for Guffman, my stomach hurt from laughing.

Super 8 is in many ways a perfect summer movie: smart, exciting, heartfelt, and suffused with nostalgia.

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.

Easy A may not be a great movie, but it is a knowing and enjoyable one.

If you're tired of routine, "feel good", Hollywood fare and are looking for something a little Tarantino-ish and a lot unusual, Feeling Minnesota will leave you feeling pleasantly surprised.

Attempts at wit and humor seem half-hearted at best. Bridget Jones: Mad About the Boy isn’t a terrible movie; it’s mediocre at worst. But it never should have been made.

The best segments of the film occur early, as the setting is established with a dose of "Friday Night Lights" normalcy followed by an invasion that recalls "Independence Day."

This is one instance in which the return of a horror icon has a greater purpose than the exploitation of a recognizable brand. Would that more genre films were as thoughtful and thought-provoking, mixing substance with splatter in a fashion that builds uneasiness on more than one level.

It's hard to imagine a D&D-branded movie doing a better job than this one of bringing the game to a cinematic platform.

Doesn't come close to masterpiece status. There are some great individual scenes and a tremendous performance by Daniel Day-Lewis, but the connecting material is mediocre, leading to the occasional twinge of dissatisfaction.

While this outing will not challenge the likes of "The Natural" for the title of the best baseball movie ever made, it's a solid effort in its own right.

The kind of expression of emotion that touches a deeper chord.

There are times when it borders on the pretentious but there’s a real, emotional payoff and it doesn’t hurt that veteran actors Michael Caine and Harvey Keitel give Top 10 career performances.

While "Hereditary" crashed and burned in its final act, Midsommar stays afloat, although the movie is ultimately hampered by a too-long running length (147 minutes) and scenes that teeter perilously close to slipping over a cliff into self-parody.

District B13 is action porn. It's a series of amazingly choreographed, kinetic action sequences tied together by a laughably bad script and worse acting.

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

The Stepfather doesn’t hold up quite as well as it did during the late 1980s (some of the film’s technical aspects are dated) but it still generates tension and suspense and O’Quinn’s performance has lost none of its power.

This movie has all the qualities necessary to be a crowd-pleaser: likable characters, charismatic performers, a strong, capably-executed premise, and lots of laughs.

It is now weighed down by a second half that's equal parts incoherent, tedious, and repetitive.

It takes a confident actor to accept a role like this and to perform it to flawless perfection.

Gifted with a surprisingly large budget (reportedly ~$70M), Bayona is able to effectively recreate not only the crash but the dangers faced by the survivors while seamlessly incorporating on-location footage with studio-based material. The remarkable accomplishment results in a breathtaking motion picture that enthralls across the length of its 140+ minute running time.

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.

Alex is certainly worth spending a couple of hours with, even if the slow pace is better modulated for a night in than a night out.

It's neither glamorous nor erotic and director Steve McQueen has taken an unflinching and non-judgmental view of sexual addiction in Shame.

Although the comic book tropes are all in place, the acting, tone, and visual effects keep them from becoming tedious. This is yet another solid building block in the foundation to Marvel’s ever-expanding superhero fortress.

Polanski abandons all attempts at subtlety. The resulting production ends up far too heavy-handed to be considered powerful drama.

With The Suicide Squad, Gunn shows that there are ways to keep things edgy while at the same time offering enough humor and action to maintain the crowd-pleasing elements.

One of those romantic comedies that never quite clicks. At times, its humor is effective, provoking chuckles and laughs. At other times, the comedy feels forced and awkward.

As much as any other motion picture that employs the preparation and consumption of food as a key element, Mostly Martha provides the perfect blend of cinematic nourishment and gratification.

I'm almost embarrassed to admit that I liked parts of Bordello of Blood -- it is, after all, a pretty sick motion picture. Alas, the sense of bloody good fun gets stretched too thin. There's not enough material here to sustain the running length, and the film goes through dead patches (most of which occur when Miller isn't on screen). All of the stuff with Chris Sarandon is a waste of time that should have been relegated to the cutting room floor -- except that would have trimmed Bordello of Blood to an unacceptably short sixty minutes or so.

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

The interaction between the three teenagers is well executed and plausible, despite the almost complete lack of a back story for any of them.

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.

Though not unusual for animated movies to provoke tears, Maquia: When the Promised Flower Blooms is perhaps the second animated film I would openly classify as a “tearjerker” (the first being Grave of the Fireflies).

Not only could one argue that this is the best "serious" work the director has ever attempted, but it's presented in a way that even the most seasoned Allen fan will have difficulty recognizing the iconic filmmaker's fingerprints.

Still Alice is undoubtedly a tough movie; it contains life-affirming moments but its perspective is what makes it unique.

The movie is funny, energetic, and enjoyable -- the perfect film for a night or an afternoon out, regardless of what mood you're in. While the plot and characters don't boast any special depth, there's enough freshness to hold just about anyone's interest.

Perhaps best of all, this is a rare instance in which the 3-D, while not an asset, is at least not a detriment.

The purpose of Bully is to educate and promote discussion. If the problem is not solved, there will be more Columbines and additional stories like Tyler and Ty's.

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

With a theatrical trailer far better than the actual picture, Schroeder's film delivers little more than a healthy dose of disappointment. The picture is watchable, but nothing about it will linger, except perhaps the feeling that, with a more polished script, it might have been significantly better.

The intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay.

Whannell fails to address how easily the power of invisibility can be foiled in today’s world where anyone can buy cheap (less than $200) infrared goggles for overnight delivery.

At a time when many comic book franchises are seeking to go bigger, with cosmic beings and multiverses, The Batman’s down-to-earth approach offers a welcome reprieve.

Provocative, entertaining, and impeccably crafted.

For those who have gotten their Harry Potter fix entirely through the cinematic incarnation, the script is lucid and fast-moving.

The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.

This isn't a family-friendly film - anyone over the age of about 8 will immediately recognize that significant chunks of the story don't make sense.

There is not a false note in Cry, the Beloved Country. Every scene is an example of near-perfect composition and execution.

An unabashed excursion into feel good territory.

It's not startling or frightening enough.

It's likely that 2004 won't offer a better movie about a mid-life crisis.

Despite its good intentions, A Family Thing could easily have been a mediocre drama, but the excellent performances elevate the film considerably.

With fresh dialogue and a willingness to show his protagonists in a less-than-favorable light, Demme has found a way to make this entry memorable.

In the end, however, the genius behind all the innovations of Bletchley was destroyed by the pettiness of a society that didn't understand him. The Imitation Game doesn't hide this dark aspect and it makes the production sobering and engrossing.

Mrs. Brown will delight and touch any viewer who seeks it out.

In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.

If I wanted to be kind, I’d call Luca Guadagnino’s Suspiria remake “visually striking” and “stylish.” If I wanted to be brutally honest, I’d call it “tedious”, “pretentious”, and even “painful” (although not in a good way).

Touching, funny, sweet, and most important of all, real -- a welcome breath of fresh air.

Consider it "Free Willy" with the Loch Ness Monster. It's that kind of family-friendly movie - one that focuses on the friendship between a lonely boy and an animal.

Oscar's life has the potential to become a Greek tragedy, but Winick keeps things light enough that it resolutely stays a comedy.

Slow moving and low key, and, when the final credits roll, you feel like you have spent nearly two hours in the company of a few real people, not constructs of a writer's imagination.

Criminally underwritten characters result in actors like Hugh Jackman, Sigourney Weaver, and Dev Patel (Slumdog Millionaire) having little to do.

Wow. For those with strong constitutions, The Raid 2 offers one of the most intense motion picture experiences available; it may also be the most violent movie ever to be released into theaters.

As a stand-alone movie with no connections to anything else, Shang-Chi is an engaging piece of comic book art. It remains to be seen how it will fit into Marvel’s overall plan.

The message is laudable and Luca’s heart is in the right place but its sledgehammer tactics make parts of the movie feel more like a homily than summer entertainment.

This is a fun motion picture on all levels, and, while it doesn't quite measure up to the standard established by Beauty, it's still one of the year's best bets for pure entertainment.

Half of what's going on is never explained, and what is explained, doesn't make much sense. And that's just the beginning of the problems encountered in director Paul Anderson's ("Mortal Kombat") poorly executed endeavor.

A taut, effectively paced mystery-thriller with a powerful emotional component

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.

It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.

As a source of light pleasure and solid laughs, it delivers. This particular cookie may not fill the belly, but it goes down easy.

Rudy is intended to be triumphant and inspirational, and, in a cliche-riddled fashion, it attains those aims. Critics of the film will rightfully point out the instances when it wallows in sentimentality, but much of the story is true-to-life. While events along the way have been "Hollywoodized", at least the ending has not been overtly embellished; films of the 1975 game exist to prove that this is how events transpired.

This is a comic amusement park ride – a wildly uneven movie that offers tremendous pleasure for the moment, even if it doesn't stand up well to post-screening analysis and scrutiny.

The strong final third counterbalances the weaknesses of the first half. I prefer films that build to something worthwhile rather than collapse short of the finish line.

With September 5, Fehlbaum has crafted one of 2024’s most unlikely thrillers. It’s also one of the best movies to reach screens in a year when genuine tension has been too often absent from films in which it should have been a key ingredient.

Despite its many strengths, Thank You for Smoking hovers around mediocrity, and its lasting impression is like a puff of smoke that is dissipated by a strong gust of wind.

It gets under the skin and into the mind and does what good psychological horror does best: leaves the viewer unsettled and perhaps a little shaken even after the end credits roll and the lights turn back on.

It offers genuine scares and chills without the self-aware, packaged feel of many horror/thriller films.

A great deal of excitement and adventure, all brought to the screen by using a somewhat irreverent tone that keeps the mood light without trivializing the characters.

After a while, Factotum surrenders to monotony and only the performances are likely to retain the viewer's interest.

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.

Takes the traditional romantic comedy and tweaks it by way of "The War of the Roses." Rarely has strife between the sexes been so ruthless, so civilized, and so funny.

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.

The film is so boisterously entertaining that it's easy for the unsuspecting viewer not to realize that there's a message here.

An ordinary story told well. Taken as a whole, there's little that's special about this tale -- it follows a traditional narrative path, leaves the audience with a warm, fuzzy feeling, and never really challenges or surprises us.

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.

With its lack of car chases, fist fights, and over-the-top melodrama, the film has to rely on solid acting, an intelligent script, and capable directing.

Taken as a whole, Mad Dog and Glory is a disappointingly mixed bag. What's on the screen is passably diverting, but I often felt as if I was seeing only half the movie. With this intriguing premise and cast, the film should have offered more complete entertainment.