James Berardinelli

This feel-good motion picture is intelligently written and expertly directed.

The great irony of this film, which is (at least on one level) about the power of writing, is that the words are of secondary importance to the overwhelming visual presentation.

In its day, it provided the ultimate two-hour vacation from the stark day-to-day realities of living during the Great Depression. For 21st century viewers, the film is little more than a curiosity, although it's entertaining enough.

An entertaining thriller. That said, it's the weakest of the films, falling a length or two behind "The Girl Who Played with Fire," and considerably more than that with respect to "The Girl with the Dragon Tattoo."

If there's a complaint to be made about Insidious, it's that the film's second half is unable to live up to the impossibly high standards set by the first half.

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.

Kinds of Kindness may not offer the kind of full experience provided by Poor Things but it is a reminder of the responses a movie can engender when the director doesn’t play by the rules.

Although the film provides material for adult viewers to chew on, it is not as deep or thoughtful as some of the Pixar classics.

Big Fish is a clever, smart fantasy that targets the child inside every adult, without insulting the intelligence of either.

The trailers make Run All Night look like a fast-paced shoot-'em-up and, although those elements are present, this is a darker and grimmer experience.

Berg's picture is certainly an above average effort that provides a solid emotional punch.

Spider-Man: Far from Home works best when viewed as an epilogue to "Avengers: Endgame" (and, by extension, the entire MCU multi-film arc to this point) instead of a stand-alone adventure.

It has taken Warner Brothers ten years to get this property a new life and, thankfully, the results in no way resemble those of its Cold War TV compatriot. Or, to put it another way, The Man from U.N.C.L.E. (2015) is good fun, which "The Avengers" (1998) wasn't.

Although Mc Carthy’s style is critical to the movie’s effectiveness, he doesn’t abandon the story in its service. Instead, he crafts a plot that is intriguing and engaging and caps everything off with a satisfying ending.

It's airheaded just like the songs it embraces but, if you enjoy them, there's every reason to believe you'll appreciate the film.

Ultimately, while Wilde lacks the depth and substance of the best biographical features, it's nevertheless a strong enough contender to deserve a trip to the local theater.

It engaged me throughout and I found the ending to be surprisingly hopeful.

This represesents the smartest high-budget, high-profile science fiction film to have come along in quite some time.

An intriguing and satisfying romance that may hold some appeal even for those who normally do not like films about affairs of the heart.

The film's first 15 minutes are by far the most fun (and could be the best quarter-hour of any movie released this year), with Samuel L. Jackson and The Rock letting it all hang out.

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.

It's a lot of fun and, because of the high quality of the cast, there's no need to feel guilty about praising such an inherently silly motion picture.

Has its share of bitingly funny moments, and some of the comedy is quite inventive.

Nothing if not versatile. And, although perhaps not as funny as one might expect given the setup, it successfully grows the main characters beyond their stereotype roots.

The ensemble cast is diverse and accomplished, but, because of the time constraints, no one has enough time to register much of a positive or negative impression.

Has the potential to be a truly memorable film, and, for more than three-quarters of its running time, it is poised to live up to that potential. But then there are the final twenty minutes.

Blomkamp's universe is a fascinating place to visit and the movie is stuffed with ideas - there's far too much here to satisfactorily explore in 109 minutes, especially when one considers that room must be made for action scenes. I departed the theater satisfied with what I'd seen but wanting more.

A disturbing and compelling motion picture that depicts the forces that try to suppress the human spirit, and the strength of these girls in overcoming it.

Ultimately, Clockers probably attempts too much, and ends up seeming overcrowded as a result.

This is adult drama with an impeccable sense of period and a strong focus on character. With today's cinema sadly lacking in movies like this, it makes Inside Llewyn Davis all the more welcome, especially for those who care about the kind of music it honors.

We don’t see many movies like Gloria Bell these days. Simple, adult character studies with major stars have become a rarity in today’s movie climate. Gloria Bell is sedate in its approach – it tells a story but the narrative is devoid of sensationalistic happenings and manipulative melodrama.

Part documentary, part parody, and part something indefinable, the film manages to succeed on its own terms and entertain on just about anyone's.

For what Man on Fire delivers, it's worth enduring Scott's hyperkinetic visual techniques.

It proves capable of doing something that many more artistically ambitious films fail at: entertaining an audience for nearly two hours.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

The director is a poet of images.

One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.

Has enough charm and whimsy to capture the attention and imagination of children and parents alike, and arguably represents one of the best live-action family films to enter theaters this year.

An uncommonly intelligent espionage thriller that explores the moral and ethical dilemmas faced by agents who go deep undercover in the service of their country.

Despite the negatives, I'm still recommending Fallen on the strength of its complex plot and especially its ending, which I loved. The final scenes are startling, audacious, and unexpected. It's not often that a plot development takes me by surprise the way this one did.

The film’s characters are as recognizably human as they are oddballs and the narrative arc could be loosely described as a coming-of-age story for a thirtysomething woman who exists in a state of extreme arrested development.

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.

At first glance, Inherent Vice might seem to be a detective story. Look a little closer, however, and it becomes clear that this is Paul Thomas Anderson's idea of a comedy. There's slapstick, lowbrow material, and enough strange characters and "completely different" moments to make Monty Python smile.

Perhaps the biggest surprise of all is that the film doesn't resort to an easy cheat at the end. It plays things straight, and still manages to satisfy, making this one of Sandler's most appealing outings to date.

There are no gadgets, forcing Bond to rely on his ingenuity (in one scene, when he needs to breathe while submerged, he uses hollowed-out reeds as air tubes). The single car chase is reasonably straightforward. And, for the only time in the series, 007 is unmistakably brutalized, appearing bloody, beaten, and disheveled as a result.

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.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

Although the narrative trajectory may be familiar, the specific path taken by director Andrew Patterson feels fresh.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

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.

A fun, fantastic adventure, but, watching it, I had the sense that it could have been even better than it is. I was diverted and entertained, but never truly absorbed.

Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.

Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.

Final Account may ultimately be more important for the voices it immortalizes than for its worth as a conventional documentary.

Those who enjoy gritty, angry Westerns (especially those set in the Australian bush rather than along the American frontier) will find much here to their taste, none of which is in need of additional seasoning.

A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.

A wonderfully nostalgic, and occasionally insightful, window into the recent past.

By limiting the film’s time frame, the narrative is allowed to breathe and, as a result, we get a distinct snapshot not only of the main character but of the setting that resulted in his becoming historically important.

What's missing from Mockingjay - Part 1 is a strong through-story. The previous films were characterized by engrossing, well-constructed story arcs but Mockingjay - Part 1 meanders.

This is not Schrader's finest work. The script is not tight, the ending disappoints, and there's a little too much drawn from American Gigolo. But there are some great one-liners, compelling actors, and well-developed characters.

As intense and as harrowing as any British thriller to emerge from the east side of the Atlantic in recent years, and there are some good titles vying for that distinction.

Although This is 40 is too long and at times over-the-top, its essence is grounded in everyday moments and emotions that will have viewers nodding with understanding and recognition.

This is a creepily effective excursion into terror that, if watched alone in the dark, may generate post-movie jitters. It’s a quietly intense alternative to generic horror movies that provides its share of scares without the need to splatter the screen with blood and viscera.

An unabashed excursion into feel good territory.

While Ernie's on-field accomplishments were extraordinary, it was the environment in which he struggled to achieve them that makes him the worthy subject of a motion picture.

Obviously not a movie for everyone, Man Bites Dog boasts graphic displays of murder and rape. There's very little of the human body -- inside or out -- that isn't shown at one time or another during the course of this movie. Nevertheless, if you do venture to see Man Bites Dog, you would have to be made out of stone to miss the visceral, sardonic impact of a highly-unusual film.

It's an unsettling piece that reminds us how even monsters aspire to living the American dream.

Sully proves to be by turns engaging, exhilarating, and nail-biting.

When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi.

In terms of overall visceral impact, The Foreigner is perhaps not as satisfying as a John Wick or the aforementioned Payback because it’s a more serious, complex movie. Nevertheless, it’s well-made, nicely paced and accomplishes what we expect from this sort of film.

Enjoyable for a movie in which pretty much nothing happens.

The film's emotional truth and honesty allows us to forgive a great many flaws.

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 two best words to describe the 2006 motion picture Miami Vice are "stylish" and "intense."

By the time September arrives, This is the End will probably be in the running for "funniest comedy of the 2013 summer."

This isn't vintage De Niro but at least there's more substance here than in a lot of his other recent projects. Michelle Pfeiffer, who flirted with this sort of a role 25 years ago in "Married to the Mob," is enjoying something of a renaissance after working only sparingly for more than a decade.

A rare remake in that it's sufficiently different in the details to make it of interest to those familiar to the earlier endeavor.

There are no humans in the film and their only participation was doing voiceover work. Of all the recent Disney recreations, that makes The Lion King the most curious.

The Equalizer 2 represents a solid follow-up to "The Equalizer" and an effectively understated entry into the 2018 summer movie sweepstakes.

Like a rom-com that spends the first half getting the characters together before showing the ugliness that sometimes happens when “happily ever after” becomes impossible, Blackberry depicts the unraveling that occurred at the back end. It’s a fascinating motion picture that gives life to Paul Harvey’s famous phrase: “Now for the rest of the story…”

Tomas Alfredson's Tinker Tailor Soldier Spy may be the best possible movie version of the story, but it illustrates that the big screen is not the ideal medium for a tale of this complexity.

Many of the characters might have longer, more fully fleshed-out arcs. But what Prince-Bythewood provides is more than enough for a rousing motion picture filled with well-choreographed battle scenes effectively folded into stories of human interest.

A curious mix of smarts and schmaltz.

Although the storyline is predictable, the intelligent dialogue and top-drawer acting more than make up for the possible deficiency.

The comedy in The Sure Thing is genial and unforced. Most of it develops organically out of the characters and their situations. It doesn't grate and it doesn't interfere with the evolution of the central relationship, and it's effective enough to provoke the occasional laugh or smile.

One of the better offerings to be found in a year that has seen a drop-off in the quality of animated films.

For Your Consideration will not go down as one of Guest's crown jewels, but it's nevertheless engaging.

Broken Arrow is "Speed" gone nuclear. Yet, despite all the explosions, violence, special effects, and other choreographed excesses, this film doesn't have quite the same impact. It's fun, to be sure, and the wild ride doesn't let up for a moment, but the level of tension isn't quite as high.

This is as surprising a romantic comedy as I have seen in some time.

A Game of Shadows is a stronger, better realized movie that builds upon the strengths of the original and jettisons some of the weaknesses.

The film is far from perfect - the soundtrack occasionally chooses the wrong songs, there are times when the acting (especially by the supporting players) falters, and there are scenes (most of them throw-ways) that don't work. Aside from jump-starting so many promising motion picture careers (including Crowe, Heckerling, and members of the cast), Fast Times will always be remembered for one thing: showing respect for and insight into the members of its core audience, something that was as rare in the 1980s as it is today.

The movie's realistic portrayal of the ingredients that can lead to bullying and other forms of unkindness inflicted on outsiders by those in power, speaks strongly to viewers watching in the 21st century.

Works uncommonly well because of the effective manner in which it blends together its various elements: the WW2 prison camp setting, the courtroom aspects, and the issues of honor, racism, and redemption.

Rise of the Guardians is enjoyable as a stand-alone adventure - not groundbreaking animation but a solidly entertaining 90 minutes for older children and adults.

The Black Phone is as solid a horror film as has come out post-pandemic and brings back memories of when “horror” meant more than an assembled sequence of shocks and blood-soaked clichés.

Although aspects of the overall storyline wallow in familiarity, the sharpness of the writing, the precision of Giamatti’s portrayal, and the well-honed relationships among the principals make the movie better than one might assume from a one or two-sentence summation.

A rich, multi- layered portrait of a director from Hollywood's Golden Age whose own life was as interesting as any of his movies.

For those with the patience to sit through this kind of unhurried motion picture, Time Out offers a compelling character study of an individual under the kind of strain we can all relate to.

This film offers a compelling scenario of what could have happened. And Burger's look back through the recent mists of time is certainly no less likely or fascinating that Oliver Stone's in "JFK."

Land is both a tribute to the triumph of the human spirit and an examination of the difficulties of setting aside modern conveniences for primitive survival. It also represents an announcement by Wright that her first feature foray behind the camera is unlikely to be her last.

Although Gladiator II is an engaging diversion, it never feels like the epic one expects nor does it truly escape the shadow cast by the earlier chapter.

Kauf, whose Stakeout was a lighter blend of the same kind of elements at work here, knows just how to play the material to keep it enjoyable. That's not an easy task, considering that the main characters are pretty reprehensible and the basic plotline is about covering up the accidental murder of a cop. Nevertheless, in part because of a series of good performances and in part because Kauf approaches things with confidence, the results are positive. Gang Related may not be Pulp Fiction, but it's not a bad foray into tangential territory.

Luhrmann’s movie achieves its goals of highlighting Elvis’ music while providing a capable, if imperfect, abstract of his life. For fans of the icon and his music, it hits enough sweet spots to be worthy of a theatrical viewing.

It’s an entertaining enough movie and the sound design and visual palette make a strong case for theatrical viewing (over the phone/tablet/TV alternative) but the elliptical narrative may frustrate some viewers and the lack of an epic scope make this a most atypical would-be blockbuster. Still, Peele’s name recognition is strong and the less-is-more style of the trailer has created a level of buzz. Those who see Nope might not get exactly what they’re expecting but they may enjoy it anyway.

Blue Jasmine is an exercise in examining the lead character's mental degeneration. The end result, a performance-driven character study, offers an experience more akin to what one might expect from the late John Cassavetes than from the still very much alive Woody Allen.

It mostly works although the tension never quite escalates to the levels reached by Ridley Scott’s original and James Cameron’s even-better direct follow-up.

Overall this is a compelling and sometimes disturbing motion picture.

Cold War features a few too many ellipses and occasionally substitutes operatic tragedy for credible motivations. This results in a film that, although breathtaking to watch and emotionally wrenching, is strangely unsatisfying.

Hawke has made this movie his way and the result is a story that is by turns romantic and disquieting. It's well worth the price of admission.

It’s experimental without being off-putting and it uses its 100 minutes to build out a character who was frustratingly incomplete in X.

A compelling piece of cinema.

In many ways, the concept underlying Lolita is more provocative than the actual material, which tends to be a bit long-winded. This is more the fault of the book than of Lyne's approach.

The transformation sequences on their own are disturbing enough to upset sensitive viewers (even though the first one doesn't occur until an hour into the 97 minute film, making the first two-thirds of the movie relatively tame, with the exception of a few appearances by Jack, who looks like a "walking meatloaf").

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.

Gordon-Levitt wears three hats (director, writer, actor) and all of them fit.

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

From an historical perspective, the story is interesting because it shows a different side of the war than what we're used to observing in motion pictures.

Monsters works not because of its representation of alien creatures or its somewhat derivative back story but because of the atypical manner in which it approaches the character-based narrative.

Hanks’ script is an example of economical storytelling and the end result is a thrilling 75 minutes of the kinds of things one expects from well-made submarine movies.

It’s crisply paced and, although there are times when Lady Chatterley’s Lover seems like little more than an intellectually-approved bodice-ripper, it’s an impressively mounted production that looks good and is emotionally true to the characters and their era.

First time director Jonathan Frakes (who also plays Riker, the Enterprise's second-in-command) injects some badly-needed energy and inventiveness into a series that, prior to this effort, was sinking under its own weight and boldly going nowhere.

The Governess is solidly entertaining material with enough substance to lift it above the traditional period drama.

For the most part, Laggies offers an engaging portal into the life of an appealingly confused 28-year old who doesn't have all the answers and isn't afraid to admit it. Coming-of-age stories, it seems, needn't be limited to teenagers.

It’s as worthy an extension of the first film as one can imagine and its existence does nothing to diminish A Quiet Place. Considering what has happened to too many movies gifted with unnecessary follow-ups, that’s an accomplishment in its own right.

It has two modes: dark and darker, and dares to do some things with the Christmas motif that haven't been done since Norman Rene's "Reckless."

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

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.

Formula One fans who remember 1976 will no doubt delight in the film but, for those who (like me) were more interested in other things during the year of America's bicentennial, it's not only a good lesson in sports history but an entertaining two hours to spend in a theater.

While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.

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.

While the experience it offers may not be to everyone’s taste, it is off-the-beaten path and effective for what it attempts to be.

For a movie that features so much naked flesh, it’s surprising how thoroughly un-erotic Nymphomaniac is. If intent is a defining characteristic of pornography, then this could be described as “anti-porn.”

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.

A fascinating portrait not only of a lady, but of the society and marriage that entrap, then attempt to destroy, her.

Some genre fans may feel cheated by the lack of overt gore (there is some but, although it's explicit enough to have warranted an R-rating, it falls considerably short of the graphic bloodletting of slasher films), the unhurried pace, and the lack of many horror tropes, but the movie isn’t a carbon copy of every other “demon possession” movie out there.

The strengths of The Underneath -- its atmosphere and character-centered basis -- are also its weaknesses.

After the Sunset is a mess, but it's a breezy, fun mess.

The result, while at times a little too visually chaotic, is bracing.

The Laundromat uses a format not unlike that of "The Big Short" (without Margot Robbie in a bubble bath) to shine the light on the kinds of activities uncovered by The Panama Papers.

Haggis' dialogue is virtually without clunkers, and it is delivered with the appropriate weight by a solid cast. Braff's limp performance is countered by Barrett's emotional riveting one (although he's in more scenes than she is).

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.

Rogue One is a better movie than The Force Awakens - something that elevates it considerably over its “secondary” designation.

Memory plays like a blended cop movie/revenge thriller and exhibits the strengths and weaknesses of both. At its best, it recalls the Mel Gibson movie Payback (which was similarly a remake of an earlier film based on book).

Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.

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

The violence has the straightforward, unflinching characteristic evident in "Reservoir Dogs" and "Pulp Fiction," although Yakin's dialogue falls considerably short of Tarantino's, both in terms of substance and offbeat humor.

Those expecting an action film may be disappointed by what The Last Duel offers. While the climactic battle is rousing, suspenseful, and suitably brutal, the majority of the film is more about dialogue, perception, and character interaction.

Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.

With the exception of a few slow spots, Outlaw King flows briskly. It’s one of the better “Netflix originals” the service has provided and worth the expense of two hours.

The Scent of Green Papaya is made all the more enchanting by its simplicity.

An appealing, offbeat, one-hundred minute diversion for those who really are tired of monsters tearing down buildings and action heroes saving the world.

There is an audience out there for slower, more intellectual thrillers. This is a motion picture for them to discover.

For those who appreciate movies with a bite, Ridicule shows its teeth early and keeps them razor-sharp throughout.

A low-key holiday drama that's refreshing not only because it lacks the big discovery melodrama of most similar movies but because it's entirely believable.

Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.

With its combination of intrigue, romance, and adventure set against a World War II backdrop, the movie has an undeniable appeal. Flaws aside, Enigma is engaging and ambitious.

Although King’s film may not accomplish everything it sets out to do, it represents an important perspective of a time period whose essential injustices have gained renewed attention some 50 years later.

The production company is Hammer Films, a venerable name in British horror. Responsible for some of the best monster movies of the '50s and '60s, when Peter Cushing and Christopher Lee were a favorite team, Hammer has endured over the years. Now, as then, the Hammer name is an assurance that terror, not soulless special effects, lies at the heart of the production. The Woman in Black bears this out.

The result is an involving experience for all but the most fidgety children and an opportunity for parents to enjoy (rather than endure) a motion picture with their offspring.

Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.

Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.

An emotionally rewarding experience: strong performances from leads Henry Hooper and Mia Wasikowska and a tender love story conveyed with genuine feeling.

An enjoyable, although not ambitious, holiday outing.

American Hustle runs a little long with the strongest scenes occurring toward the end. Although the actors don't put on a clinic, they all provide worthwhile performances playing interesting characters, and there's a nice cameo thrown into the mix.

Taken as a whole, Freakonomics feels almost like an extended episode of 60 Minutes with a lot of childish animation and some awkward connecting sequences.

The best part of the film, unsurprisingly, is William H. Macy's low-key portrayal of Bernie.

The movie often feels more like film noir than a war picture both in the way it is shot and in the manner in which the characters are handled.

A courtroom drama which is sufficiently different and thought-provoking that I can recommend it with a clear conscience.

Shelton took a chance with this film. Given a less talented performer, Cobb could have been an awkward, over-the-top melodrama. As it is, however, the movie works much as Mrs. Parker and the Vicious Circle does -- as an unobstructed view of human degradation and the damage it wreaks.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

Infectiously entertaining comedy.

There’s a lot here for kids to like and nearly as much to keep parents from fidgeting.

The Uninvited is a flawed production, but gratifying in the way it delivers. The interesting and unique elements of the movie effectively compensate for the formulaic way in which the plot develops.

Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.

Day of the Soldado retains the edge-of-the-seat and nihilistic qualities of its predecessor, but there are shifts to the overall tone, which is neither as stark nor as ominous.

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.

While these may not be the most unusual themes to fashion into a motion picture, Rudolph's atypical approach to the characters and their situations makes for an intriguing, if not always pleasant, movie.

Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.

If there's a serious disappointment, it's the villain. Ma-Ma, despite being played with over-the-top zest by Lena Headey, isn't a very impressive foil for the mighty Judge Dredd, even when she calls for "back-up."

Although imperfect, it's engaging, thought-provoking stuff.

Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.

Ends up being one of the end-year's best sources of pure entertainment. And for those who believe laughter is the best medicine, there's more than a bellyful or two to be found here.

It's a movie of moments, some of which are side-splittingly funny. Arguably, this is the most uproarious comedy that Allen has ever done.

A scathing satire of conspicuous consumption and a fashion-obsessed culture, Absolutely Fabulous - The Movie hits most of its targets and twists the knife but, as funny as the material sometimes is, the flimsy narrative and threadbare caricatures encounter difficulties trying to sustain a 90 minute motion picture.

Blink Twice is a deliciously nasty “refrigerator film” – a psychological thriller that holds viewers spellbound while in the theater (even if certain plot elements fall apart upon later reflection – say, for example, when getting a snack from the refrigerator later that night).

With Paul Feig in the director’s chair, this unapologetically sentimental film provides viewers with opportunities to laugh and cry while morphing into something a little different than what the trailers and marketing material suggest.

Ana is a vivid, vibrant individual and the movie's focus upon her makes it successful and accessible.

I recommend the movie both for Nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life, but rarely see on screen.

The Muppets is a rare family film likely to appeal more to parents than to their offspring.

Red Sparrow is a deliciously perverse, unflinchingly violent thriller – a modern-day espionage tale that breaks with the tradition of making the spy business the purview of suave and debonair characters.

It’s an elegant and highly unexpected offering from George Miller that allows him to step away from the Mad Max universe if only for one interlude.

Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.

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

A crowd-pleaser.

Solitary Man gives Douglas a chance to act, not merely posture or show off for the camera. It's some of the finest, least forced work he has done in years.

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

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.

Dark Passage is a must see for fans of Bogart/Bacall.

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.

The critical question for the movies' producers is whether Harry will be as popular now that his legions of stalwarts know how it all ends. The smart money would be on answering that question with a resounding "yes!"

This is a fascinating story of determination and survival that deserves to be told. It is ultimately uplifting but it's tough going to get to that point.

As the title character, Millie Bobbie Brown shines in a way she hasn’t in her non-"Stranger Things" appearances.

There’s something delicious about the way Hustlers delivers on its promise of glitz, sex, and raunchiness while delving far enough beneath the surface to subvert the genre.

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

Hacksaw Ridge embraces many of the clichés of the war movie but, instead of laying them out in a rote fashion, the film synthesizes them into a visceral, ultimately inspirational result. This is about heroism, patriotism, and an adherence to convictions.

Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

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

Isn't the best coming-of-age story to hit the big screen, but it skirts new territory, and does so with a flare that earns it a recommendation.

For martial arts action fans, The Forbidden Kingdom may be the best fantasy story since the genre was opened to a wider audience by "Crouching Tiger, Hidden Dragon."

While this version of Les Miserables lacks the cleverness and contemporary spin evident in Claude Lelouch's brilliant 1995 re-interpretation, it is moving and effective in its own right, as a more "straightforward" adaptation.

Offers enough suspense to make it worth the price of admission.

The film has a nihilistic tone and its gallows humor may turn off more viewers than it seduces. Not since "Killer Joe" has a film exerted this mix of attraction and repulsion.

It is sweet and sentimental and embraces the fantasy (although it would have worked better without the treacly pop songs on the soundtrack).

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.

While Seven lacks the cleverness of the superior "Usual Suspects," it's strong enough to hold its own against most other thrillers.

No matter what your opinion is of the movie, you're unlikely to be bored.

The Perks of Being a Wallflower tweaks the formula just enough to remain fresh and offer something a little new. It's sad, funny, warm, and nostalgic - kind of like high school, really.

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."

The Incredible Hulk is a more traditional superhero movie than its predecessor and should please those who want their not-so-jolly green giant served with helpings of action. This film provides less talk and more smashing.

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.

No one steals scenes from Samuel L. Jackson when he’s in this mode. His entire modus operandi is to be the biggest, baddest motherf... (watch your mouth!) on the planet. Nevertheless, Regina Hall gives him a run for his money – something she does with a lot less screen time.

Cooper directs with a sure hand, never overextending himself, and Lady Gaga proves to be a natural performer (she’s more believable in the role than Barbra Streisand was 42 years ago). She and Cooper exhibit a strong, primal chemistry. The movie works because we believe in them and have a rooting interest in their star-crossed, doomed love affair.

Won’t win any awards for acting or writing but generates suspense when it needs to and tells an engrossing Tall Tale.

As with most political thrillers, The Ghost Writer emphasizes plot development and atmosphere over action. It's an "adult" thriller as opposed to one designed for viewers suffering from ADD.

Offers a more satisfying cinematic experience than "Oblivion."

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.

The script is smart and sneaky - by never telling the audience more than is necessary, it develops a keen sense of suspense that persists until the gritty final reel.

Light, funny, and clever.

The obligatory jump-scares aren’t the best and the movie is at times frustratingly underlit, but those things don’t keep the suspense at bay. In the end, however, Wolf Man is a story of sacrifice and love.

Perhaps the best way to describe Booksmart, the assured directorial debut of actress Olivia Wilde, is John Hughes for the 21st century. Although Hughes never came close to the level of raunchiness on display here, when one peels back the layer of vulgarity and R-rated dialogue, the beating heart of an honest teen-oriented comedy can be found.

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

Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.

Ultimately, when the end credits roll, we're left with the sense that Star Trek represents a good beginning. As a film tasked with getting all the characters together, re-booting a timeline, and finding a way to return a veteran actor to his beloved role, Star Trek works.

I applaud what Costner has given us with Horizon. This contains many of the things on my movie wish-list with its focus on an original story, diverse characters, and a classic cinematic approach. Problems aside, Costner has me hooked and I’ll be among the first in line to see Chapter 2 when it opens in August.

Kill the Messenger is compelling material but the recognition that the core of the narrative is based on true events gives it additional power.

Anyone who understands what The American offers should come away pleased with the final product.

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

Enjoyable and inviting.

Editing is increasingly a lost art and there are times when Triangle of Sadness might have been more effective had it been presented with greater economy. Stylistically, however, that’s Ostlund. We’ve seen it before and doubtlessly we’ll see it again. There’s enough here to make it worth enduring the length.

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.

Although it would be fair to say there are “feel good” moments in the movie, the film as a whole seeks to dig a little deeper. It’s not as effective as the effervescently witty "500 Days of Summer," but there are times when it strives for a similar sensibility.

The House of Yes is what happens when a film takes the dysfunctional family melodrama to its farthest reaches. It's a bold, gutsy movie that's definitely not for everyone.

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.

Joe is a masterpiece of special effects wizardry, looking more real than any giant primate ever to walk across the silver screen. By combining animatronics, computer-generated images, and a man in a costume, Mighty Joe Young creates a compelling illusion.

Perhaps the most compelling reason to see Sunshine Cleaning is the pairing of two of the best and most charismatic young actresses today.

The battle between Max and The Blaster in Beyond Thunderdome may be the best the series has to offer.

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.

Feast of Love's greatest strength is that it's about people and involves universal emotions. It's not great art but it is enjoyable soap opera.

The best Star Trek stories are allegorical - in addition to telling an involving story, they're about something other than going into space and blowing up enemy ships. Insurrection continues that tradition.

The Color of Money plays better when not under the shadow of The Hustler, which is ultimately a better and more compelling tale.

The Old Guard blends the intelligence of a well-written dramatic sci-fi/fantasy tale with the action/adventure of a big budget motion picture.

To date, "The Insider" probably represents the most compelling whistleblower story to make it to the big screen and, although the subject matter is different, Official Secrets generates in the viewer the same sense of outrage.

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).

Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.

This isn't a perfect motion picture but, in the midst of summer's vapid pursuit of spectacle, a movie that provides real heart and emotion is a rare find.

It's a calculated formula for success, and makes for entertaining viewing, but those expecting something with the spark of the first two pictures may be disappointed.

Although there are a few missteps, the movie boasts a deliciously dark tone that makes for compelling viewing.

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.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

Although The Night of the Hunter offers many pleasures for students of film history, its ability to captivate a generation for which its qualities are so foreign is as much an indication of how degraded film literacy has become as a counterargument to the movie’s timelessness.

Hamnet ultimately feels like the sort of mid-budget literary drama that used to be commonplace from the late 1980s through the early 2000s but has since become rare. It proves a better fit for Zhao than the blockbuster ambitions of Eternals: the intimate scale and emotional concentration suit her strengths.

Overall, although this version of Speak No Evil doesn’t leave as deep or lasting an impact as its predecessor, it represents another in the seemingly-endless Blumhouse stable of low-budget films to warrant a recommendation for those who appreciate the genre.

It's a solid performance from Leonardo DiCaprio, who has grown into this sort of "gritty" role and is more believable after having been seen dancing on the dark side in "The Departed."

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.

At times unremarkable, at times weird, and at times tedious. At worst, it can be said that Kaufman has made a discussion-worthy animated feature.

This is one of those films where the comedy prefers to accentuate characters’ deficiencies than pursue slapstick. Because of this, Buscemi, Palin, Tambor, and a deliciously pompous and over-the-top Jason Isaacs (as Field Marshal Zhukov) shine.