James Berardinelli

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

Offers a more satisfying cinematic experience than "Oblivion."

Director Robert Rodriguez understands the exploitation genre and delivers everything one craves from it - over-the-top, graphic violence; scenery-chewing villains; cheesy one-liners; and plenty of naked boobs and bums.

Wonderstruck is an evocative movie with a vaguely disappointing narrative that, although it reaches a conclusion, doesn’t justify the patience viewers must exhibit to reach that point

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.

Although Hanks' film starts out strong, it finishes on shaky ground... A serio-comedy/fantasy whose light dramatic arc can't support the awkward and unnecessarily melodramatic ending.

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

There are times when 22 Jump Street is borderline brilliant. Unfortunately, those instances are outnumbered by segments that don't work for one reason or another.

For most of the movie, Cody and Reitman jape at her until, in the last 20 minutes or so, they attempt to turn her into an object of sympathy. It doesn't work and, on balance, neither does Young Adult.

The movie may be marketed to art house audiences but it has something to say to (and about) us all.

I wonder if Gamer might make a good game; it certainly doesn't make a good movie.

As a means to bring a classic novel to the attention of a modern audience, McGrath's Nicholas Nickleby is a success.

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

It’s solidly entertaining, contains an element of emotional resonance, looks and sounds great, but isn’t special.

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.

Isn't just heartwarming and inspiring, it's a remarkable look at a group of children whose most noteworthy trait is that they are ordinary.

It's lively and vivid but ends up leaving the viewer indifferent to the central character, his life, and his dubious place in British pop culture.

The Girl with the Dragon Tattoo can stand on its own as Fincher's valentine to goth girl power, detective stories, and the grotesqueness of the human heart.

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

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

The decision to partially reinvent what a Predator movie can be is what makes Badlands work. While it leans on familiar sci-fi tropes and doesn’t exactly revolutionize the genre, it feels fresher than the other sequels and far less beholden to the original.

Although the How to Train Your Dragon series hasn’t been reduced to the harebrained level of a big-screen children’s cartoon, the latest chapter is the least sophisticated of the movies, emphasizing slapstick humor, one-dimensional characterization, and obvious messages.

Enjoyable in a shallow way, but there's nothing so special here that it warrants more than a cursory glance.

Jim Carrey re-invents Horton much as Robin Williams did with the Genie of the Lamp in Disney's animated "Aladdin."

n the one hand, The Wonder is a fascinating examination of the war between the sacred and the scientific. On the other hand, despite its strong sense of atmosphere and an intense performance by lead actress Florence Pugh, it’s strangely uninvolving.

The movie is handsomely mounted and consistently engaging. Yes, the story is familiar but part of the charm is seeing how key scenes have been re-envisioned by the filmmakers.

Despite numerous faults, Damage is still a worthwhile motion picture. It presents a stark depiction of a man on the edge who is driven to act by needs he can neither understand nor control, and the pain that such an obsession can cause. There's a lot here, just not as much as there could have been.

There are times when, as diverting as it can be, Next Stop, Wonderland feels like a lengthy prologue to an as-yet unmade film.

O'Connor gives the film a dark, moody look, which is the best choice for so many roiling emotions. This is not a traditional stand-up-and-cheer fight movie; the undercurrents are too strong and deep.

There's nothing here to astound or surprise; the movie neither exceeds nor falls below expectations. Those who love Hardy and/or the less-filmy romances of his era will derive the most from Far from the Madding Crowd.

Not only is Pleasantville a satire, a fantasy, and a visual marvel, but it's the best kind of feel-good movie.

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.

Ingrid Goes West is part comedy, part tragedy, part horror/thriller, and part social commentary. Although it is primarily satirical, director/co-writer Matt Spicer never loses sight of the characters.

Despite its overly praiseworthy tone, there are areas of interest.

Like nearly any thriller, no matter how intelligently and tightly plotted, it is possible to poke holes in its fabric. But, as it's unspooling in the theater, it makes for a wonderful movie house experience. Here's a sleeper worth a few extra miles' travel to see.

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.

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.

A failure on pretty much every level, Hounddog would never have been known beyond Park City had it not been for the notoriety surrounding the rape scene.

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

Woody Allen is rarely a big commercial draw, and whether his off-screen antics will boost his box-office take remains to be seen, but Manhattan Murder Mystery may be his most accessible film since Hannah and Her Sisters. This movie is still pure Allen, but the humor is broad-based, and the "quirkiness" often associated with the director is kept to a minimum. Frankly, it's been years since I've enjoyed the director's work this much.

Sadly, about the nicest thing I can say about What Happens in Vegas is that I didn't hate it - although I suppose that's something.

Star Trek IV, while not a superior effort, is an effective and enjoyable sample of entertainment -- not good science fiction, but a lightweight piece of comic fantasy utilizing characters so familiar that they feel like old friends.

In true Sorkin style, the movie is all about the nonstop dialogue, which pours out at a mile-a-minute but, as a result of the way the words flow (not to mention the skill with which they are delivered), they function as momentum builders rather than verbal diarrhea.

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

The film’s ensemble cast provides a case study in unforced, emotionally powerful acting.

Black Book possesses a taut, exciting script that throws surprises at the viewer on a regular basis.

The core problem with Girls Trip is its length. What might be a fun, frivolous affair at 90 minutes turns into an endurance contest as the clock ticks toward the two-hour mark.

The most interesting personality in Ed Wood is not the title character, but Bela Lugosi. So covered up with makeup that he's barely recognizable, Martin Landau gives a deeply-felt performance -- a eerie and stunning recreation of a man haunted by lost fame.

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

For something billed as a lightweight romantic comedy, What Happened Was... wades through some surprisingly deep waters.

Unfortunately, although there’s an opportunity here to do something compelling, that opportunity is largely wasted. Perfunctory characterization, lackluster acting, an inability to sustain tension, and an incoherent ending waste most of the goodwill resulting from the premise.

An unremarkable bio-pic about a remarkable man.

This one is a creepy white-knuckle excursion into horror, where even the "boo!" moments are so well developed that they cause a jolt.

As biographical crime thrillers go, Killer Instinct is a worthy entry to the genre, although the incompleteness of the story makes it difficult to evaluate on its own. The movie needs to be seen in the context of a greater whole for it to be fully appreciated.

If you're a fan of James Brown's oeuvre, the film will keep you interested. If you're not, Get on Up will quickly become tedious and will wear out its welcome long before the end of its 133-minute run.

It’s the kind of movie one can watch and appreciate on both an emotional and intellectual level but without having to do much heavy lifting. It isn’t the director’s best work but nevertheless represents a worthy entry to his increasingly diverse filmography.

In Shazam!, the positives outweigh the negatives. The film’s fresh aspects are strong enough to keep the stale ones at bay.

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

As is often the case with pioneers, it is ragged around the edges, but the film's weaknesses are not enough to prevent it from being appreciated. Dracula is not scary; it's a little too campy and hokey to be so (especially by today's standards), but it is nevertheless an effective storytelling vehicle, and there are occasional moments of movie magic.

It offers a feel-good experience, but without the heavy dose of schmaltz that often accompanies such a production.

The basic storyline has been done to death over the years; this is still one of the most effective and successful applications of the formula.

Despite its problems, The Swan Princess is actually one of the better non- Disney animated productions to come along in a while. While the creators of Beauty and the Beast, Aladdin, The Lion King, and Pocahontas need not feel threatened, parents looking for something different to take their offspring to might find something worthwhile here.

The cast is remarkable. Five of the seven principal cast members own previous Oscar nominations.

The action scenes are, for the most part, kinetic and exciting - things that have rarely been true of fights and chases in the superhero's previous incarnations.

From a purely technical perspective, Charlotte Gray is expertly made -- the cinematography and music are evocative, and lead actress Cate Blanchett has no problem holding our attention. But, while Armstrong gets the notes right, she fails to play them with inspiration.

The movie is never boring or uninteresting, but I viewed it from a detached perspective, unable to become involved because I didn't really care about any of the three main characters.

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.

Despite the clever premise and several laugh-aloud moments, the film as a whole underwhelms.

For those who buy into the precept that "good things are worth waiting for," The Walk unquestionably delivers.

Although the specter of death hovers over the entire film, it is neither a grim nor a depressing experience. Arcand has injected a great deal of wit into the movie, and it meshes perfectly with the anticipated pathos.

Throughout the entire production, there’s an excellent sense of place with both the touristy and less friendly aspects of Acapulco contrasting with one another. These real-world contradictions are less compelling than those in Neil’s personality but they make for a fascinating backdrop to the unveiling of the truths about one man’s psychological dissolution.

For those who are interested in observing the habits of real lions and viewing genuine life-and- death struggles in Africa, I direct your attention to The Leopard Son, which is still in theatrical release. That well-constructed documentary has stronger drama, tension, and cinematography than the supposedly-real story told in The Ghost and the Darkness. True, it's missing Tom Wilkinson sneering, Michael Douglas smirking, and Val Kilmer looking bored, but no movie can boast everything.

It’s definitely not a pure thought-piece: there is a body count and quite a bit of blood (although this is by no means a gore-fest). But it seeks to do more with familiar tropes than merely create an unimaginative story around them.

A Complete Unknown isn’t shallow but the screenplay makes no attempt to psychoanalyze its subject. If there’s something to be learned, it’s how uncomfortable it could be to enter this man’s orbit. His music is iconic and speaks to many but, from the first scene to the last, he remains A Complete Unknown.

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

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

The twists taken by the narrative, the quality of the performances, the superlative cinematography, and Berri's masterful direction make this one of the best motion pictures ever to cross the Atlantic Ocean.

It’s a passable production with some interesting performances but the bumpy screenplay and uneven pacing keep the audience at arm’s-length and limit the effectiveness of the narrative.

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

Without a hint of regret, the filmmaker freely borrows from such diverse sources as Martin Scorsese, Quentin Tarantino, Oliver Stone, and the TV program "C.S.I."

The action sequences were often nail-biters, the lead characters were well-developed, and the dialogue was intelligent.

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

Despite an occasional narrative hiccup, this is a rich and moving motion picture.

An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.

It's quite engaging. It is competently constructed and often compelling, but it will not be mentioned in the same breath as some of its classic predecessors.

Sisu is one of those unheralded films that comes seemingly out of nowhere to grab the adventurous movie-goer by the throat. For a perfectly-pitched 90 minutes, it glories in the excesses of gore and violence with an exuberance rarely experienced this side of Quentin Tarantino.

At under an hour, it could have been creepy and unsettling enough to work without being weighed down by narrative issues. At over 100 minutes, it feels too long and there’s a law of diminishing returns in effect. Once we recognize the underlying dynamic, the movie becomes less of a story and more of an acting/directorial exercise.

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.

The best medium in which to view Countdown to Zero is on The History Channel, not in a theater.

The film overflows with quips, irony, and physical gags while at the same time relating a noir-tinged story of seedy corruption set in the neon-saturated underbelly of the 1977 Los Angeles porn industry.

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.

There's no denying the film's power of compulsion and the sense that, when it's all over, it means something. Most viewers will be entertained and moved, and some will find their intellect aroused.

Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.

There's nothing especially original about Unstrung Heroes, but the story is told with intelligence and sensitivity.

Colossal is 2/3 of a great movie and 1/3 of a mess. Writer/director Nacho Vigalondo is tremendous when it comes to setup and the majority of his narrative but he can’t stick the ending.

This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.

As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.

The Devil Wears Prada 2 is harmless enough, although it exists more as an afterthought than a legitimate continuation of a story that was fully told twenty years ago after the first 105 minutes.

Monkey Man may be a silly-sounding title but the story it tells is anything but silly.

The core of honesty that distinguishes the production remains unchanged by time, ensuring that, no matter how many years have passed, About Last Night... still works on an emotional level.

Fiddler on the Roof is not a perfect motion picture - it is too long and there are times when it's obvious that the musical numbers have been pre-recorded then lip-synched - but it represents an enjoyable three hours.

Structured as a comedy, albeit a dark one.

Ant-Man and the Wasp offers nothing close to what we have come to expect from entries into the MCU. Plodding, repetitive, replete with technobabble nonsense and lifeless action, this is easily the worst-written of any of the 20 MCU offerings and may be the worst all-around film featuring a Marvel superhero since Sony rebooted Spider-Man.

Grease works as a musical, a comedy, a light romance, and a gentle satire of teenage life during the '50s. In part because of its persistent high spirits, it's a delight to watch, even 20 years after it first appeared on the screen.

It tells its own story and, unlike with "Thor 2" and "Iron Man 3," we don't feel the absence of the rest of the team.

Joe Klein's novel -- is a cynical satire of life on the campaign trail. It's harsh, blistering, and possesses an edge that the film, a warmhearted comedy/drama, lacks.

The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.

What sets this apart from its many competitors for teen dollars is that not only does the movie feature a surprisingly edgy and intelligent script, but it offers a group of characters capable of holding an audience's interest for more than 90 minutes.

Motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial.

A smart movie that does not simplify or candy-coat the rigors of the teenage years.

It makes for a fascinating exploration of the human experience.

The dialogue -- especially that between Roy and Frank -- crackles with wit and intelligence (a rarity in films these days).

High Society doesn't just have a voice -- it has a heart and a soul as well.

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

Because of the potential of the idea and Cronenberg's reputation as a film maker, it's a real disappointment to watch eXistenZ fall apart the way it does.

Director Zhang Yimou's ambitious attempt to blend martial arts action with Shakespearean melodrama. It's not a perfect marriage but it offers two hours of solidly over-the-top entertainment featuring incredible visuals and powerful performances by international icons Gong Li and Chow Yun Fat.

There are times when musical/comedy elements and the darker, serious drama of the love triangle war with each other. This is one of the great romantic tragedies of all time, and the film falls short of doing it justice.

What "Eternal Sunshine" did with magic and whimsy, The Science of Sleep accomplishes with confusion and pretentiousness.

An enjoyable experience.

The film embraces the value of pursuing one’s dreams while extolling the virtues of haute couture. My guess is that it will appeal strongly to the Downton Abbey faithful.

An intellectually and emotionally exhausting and engrossing experience. It is drama of the highest caliber.

Carrey is forced to confine his antics to the needs of Liar Liar's unimaginative screenplay, and the results are mixed.

The Adventures of Priscilla, Queen of the Desert is about the most fun you can have with three guys who like to dress up as women.

Soul Food stays a cut above the average melodrama by keeping the characters grounded and the situations from becoming too ripe.

The darkness isn’t skin-deep; it permeates the material. Nightmare Alley may not be the feel-good film of 2021 but it leaves a lasting impression.

As a movie, The Hoax isn't a fraud but it's not the real deal, either.

Sweet and light. It's a celebration of cultural diversity and an affirmation that, despite differences in race, religion, and societal norms, people are essentially the same.

For once, with How Stella Got Her Groove Back, Hollywood offers a love story that concentrates on the simple nuances of the romance rather than smothering us in an overly- melodramatic narrative featuring old boyfriends, jealousy, and hard-to-swallow misunderstandings.

A stunning kaleidoscope of a motion picture - a mosaic of images that gradually resolves itself into a powerful tale of tragedy and redemption.

It's refreshing for a romantic comedy not to follow the formula by rote. I only wish I could be as enthusiastic about the amount of screen time accorded to certain characters who are more tedious than endearing.

It is fair to argue that, at least in the case of Rampart, Woody Harrelson is better than the material in which he appears.

It's tame and rather bland, and the laughter it generates is half-hearted. Director Jesse Peretz commits the unpardonable sin of wasting the considerable comedic talent of Paul Rudd.

As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.

Yankovic understands and takes to heart the maxim of never letting the facts get in the way of a good story.

A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.

Nothing, no matter how outrageous, is beyond Smith, and his willingness to flaunt cinematic taboos is one of the reasons why Clerks is such a unqualified success.

In a way, it’s almost worth recommending Men for the first 70 minutes. At that point, a quick exit would preserve the illusion that this is some sort of modern horror classic. For those who stick around, however, the final assessment isn’t likely to be nearly as favorable.

Any curiosity surrounding the film may have been misplaced – it’s a bit of a bore.

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.

Despite its flashy production design and big budget, it's shallow and unsatisfying and primarily interesting for what it says about the views of society when it was made.

Contagion is the best movie made to date about an epidemic/pandemic.

This is a film to be enjoyed on a psychological level for its keen understanding of the contradictory impulses that drive sexual and social intercourse.

Despite its themes of terminal illness, dysfunctional families, and the need to heal old wounds, the film spends more time provoking laughter than tears.

Overlong and unevenly paced, Cinderella Man hits stretches (especially between bouts) when it threatens to lose its audience.

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."

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.

Cronos is more concerned with ideas and atmosphere than people.

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

The Day Shall Come is an angry film – funny at times but with an acidic underpinning.

I found Materialists to be overlong but not unpleasant but there’s a lack of balance in the way the secondary characters and side-plots are more engaging than the bland central romantic triangle.

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

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.

It’s mostly an off-kilter road trip that accomplishes what the Coens do best - seamlessly merging drama, violence, and quirky humor into a whole.

Ted Geoghegan’s Mohawk is taut, bloody, and uncompromising – all with a dollop of social commentary thrown in for good measure.

While "quirky" is a good descriptor for the production, Lars and the Real Girl isn't so bizarre that mainstream movie goers will reject it. This is an offbeat independent production that could become one of those big little fall surprises.

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.

Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.

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

With Inglourious Basterds, Quentin Tarantino has made his best movie since "Pulp Fiction." He has also made what could arguably be considered the most audacious World War II movie of all-time.

Those expecting Dragon to offer a probing examination of Bruce Lee's life will be disappointed. This is not a "tell all" expose or a hard-hitting biography. Instead, it's a celebration of the first international Chinese-American movie star. As such, the film accomplishes what it set out to do while keeping its audience involved for its full running time.

It is an accepted truth that adapting a sublime novel does not always result in a sublime movie. To an extent, this is the problem with Never Let Me Go.

Batman is largely content to skim the surface and bask in the light of its visual style.

Its complex (yet not mystifying) storytelling, forceful character development, and superb cinematography make this a candidate for one of 2006's best offerings.

Comparisons to the original Bad Lieutenant are unnecessary; Port of Call New Orleans can stand - and fall - on its own merits, inconsistent though they may be.

a 95-minute thrill ride from director Tony Scott, delivers the right level of adrenaline.

The end result is something that feels like it was put together from a jumble of Disney clichés tacked onto the skeleton of "Beauty and the Beast."

Seems breezier and less self-conscious than the Mike Myers franchise.

Revolutionary Road is a fine motion picture, but it's not a good choice to lighten a burden or brighten a night. It rewards in the ways that only tragedies can.

Take away Bruce Willis and this is straight-to-video material.

Carnage suffers from a common problem that afflicts many stage-to-screen adaptations: too much artifice and contrivance.

Palo Alto may not be the most exciting film about high school life to come along in the past few years, but it is among the most honest and words like "pandering" and "insulting" don't apply.

The kind of daring feature that doesn't open every Friday at the local multiplex; its frank, sometimes politically incorrect approach towards the act and politics of sex is refreshing.

For those who expect a tightly-written mixture of the detective and science fiction genres, Time After Time is bound to be a disappointment. It's more of a lighthearted fantasy/romance with a few thriller elements thrown in.

By turns sad, frightening, and inspirational, the movie is impeded only by the difficulty of bridging the 25-year span between segments and accepting the older lead (Dev Patel) as a replacement for his younger self (Sunny Pawar).

Overall, however, Rocketman works because it isn’t constrained by the beats of a traditional bio-pic. Although the movie will be rightfully and enthusiastically embraced by the singer’s fans, it has something to offer those with no more than a casual recognition and appreciation of the man’s music.

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

Gallo's script is quirky and filled with a number of hilariously strange comic moments.

This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

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.

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

Because it thumbs its nose at the puritanical morality of contemporary mainstream cinema, Honey Don't! feels destined for cult appreciation rather than broad appeal. It’s a diverting curiosity—something to tide us over while we wait for Joel and Ethan Coen to reunite.

A lot takes place during The Painted Veil's two-hour running length, but most of what happens occurs within the hearts and minds of the leads.

At any rate, Lee Cronin’s Evil Dead Rise take on the Deadite universe is better than Alvarez’s but remains considerably below that of Sam Raimi, who helmed the original trilogy.

One reason why It works is that it doesn’t rely solely on jump-scares and gore to startle audiences. Yes, there are some of both, but It is more about building tension than cheap gimmicks.

With a cast featuring Ben Stiller, Owen Wilson, Robin Williams, and Ricky Gervais, one has a right to expect something amusing from Night at the Museum. Oddly, not only is the movie unfunny, but it rarely tries for laughs.

The chief pleasure to be derived from watching Cold Souls is that it's a journey into the unexpected.

Relies on uncomfortable black humor and moments of sincere drama to involve viewers. But everything is encased in artifice and the movie becomes a chore to take in.

This is as anti-Hollywood a film as I have seen in recent months, one which takes conventional plot ideas and uses them not to season a melodrama, but to enrich fully three-dimensional characters and create a forceful motion picture.

It is Lee's job as a film maker to imbue these images with life, and that's a task he easily accomplishes.

Although the movie’s foremost goal is to deliver big laughs, it gets points for taking seriously the trauma of parents who, after nurturing and caring for their children over an 18-year period, are forced to let go.

Green Book avoids sanctimoniousness in presenting this heartfelt, if sometimes familiar, story of mismatched strangers who learn to overlook boundaries of race, sexual orientation, and class as circumstances force them to rely on one another.

The passage of years have shown Out of Africa to be a nice, pleasant (if padded) motion picture that's long on visual and audio poetry and short on substance. It tells a grand love story in less-than-grand fashion but is nevertheless worth seeing because of all the other things it does right.

The actors, especially an uncharacteristically low-key Russell Crowe, are effective in bringing the personalities to life and director Joel Edgerton (who adapted the source material and also acts) avoids the kind of extreme melodrama that could unbalance a project like this.

The Avengers kicks ass.

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.

Damn, is it good to watch a movie that expects the audience to pay attention and that doesn’t pander to the least common denominator.

[The film] occasionally had me convulsed with laughter.

In terms of the balance between narrative, mystery, and razor-sharp dialogue, I was reminded of Knives Out. Very different films in some ways but not that different in their ability to engage, entertain, and not overstay their welcomes.

With impeccable period details, top-notch performances, and the text of one of the 20th century’s most lauded plays, The Piano Lesson represents one of Netflix’s stronger unsung late-2024 drops.

Overall, while not as strong in terms of plotting or character development, Prince Caspian is nevertheless a better cinematic experience than its predecessor, if only because it feels more confident and polished.

Your reaction to Double Team will probably depend largely on how you feel about concussive action films. While this one is better than most, it still falls considerably short of what I consider to be a "good" movie. One thing's for sure, though: like most flicks that boast more stuntmen than cast members, Double Team is unlikely to function as a Sominex. You may not enjoy it, but you won't fall asleep. And that's the best thing I can say about this loud, brash, ultimately pointless morsel of eye candy.

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.

The cast is comprised of unfamiliar faces, which enhances the pseudo-reality of the milieu. The principals - Dane DeHaan, Alex Russell, and Michael B. Jordan - are professional actors with credits (many on television) to their names. But they are not "known" stars and that allows them to be accepted with ease into these roles.

When it comes to Christmas movies, although most are quickly forgotten, a select few go on to become touchstones, beloved and re-watched by families year after year after year. Arthur Christmas may have what it takes to join the latter category.

Into the Woods left me out in the cold. The long-gestating cinematic adaptation of Stephen Sondheim's fairy tale-infused Broadway musical, Into the Woods can claim a clever screenplay and a few enjoyable performances but little else.

Although some of the production's technical aspects remain impressive, the dramatic elements come across as trite and many of the musical numbers are dated. Clocking in at more than three hours, The Great Ziegfeld at times tries the modern viewer's patience.

The movie is fresh, fun, and breezy.

Predestination is science fiction for a thoughtful crowd. This isn't an action oriented film nor should it be mistaken for a blockbuster.

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.

In terms of power and effect, Eyes Wide Shut approaches (but does not surpass) Kubrick's vintage work - it is thought-provoking and unsettling.

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

The film contains some of Nolan’s most ambitious action sequences to-date but one wonders whether the plot density – a not inconsiderable obstacle for some who prefer not to devote their undivided attention for 2 ½ hours – might prove to be problematic.

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.

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.

A heist movie in the classic tradition - it details every aspect of the caper, from its genesis to its aftermath. The fact that there's political intrigue and espionage swirling around the edges only makes it more fascinating.

After a promising beginning, this movie crashes and burns.

By offering opportunities to laugh, cry, and cheer, Little Voice satisfies in a big way.

So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.

When I say that Parker is a master manipulator, that’s meant as a compliment of the highest order. He gets us into this story and puts us unequivocally behind Nat.

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.

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.

Everything (not just the flesh) is vibrant with life.

As with all of Berg’s films, Patriots Day does an excellent job with sets and locales and is compulsively watchable.

Moves slowly -- it's an unhurried, talky affair that consists primarily of members of the small group of characters interacting.

The acting is top-notch, the characters are three-dimensional, and the dialogue is sharp and witty.

The best thing that can be said about Welcome to Me, as written by Eliot Laurence and directed by Shira Piven, is that it attempts to portray the real Borderline Personality Disorder as opposed to the Hollywood movie version of the disease. Unfortunately, that's about all it does.

Some of the funniest scenes belong to Ice Cube's "angry black captain" who goes on profane rants that would make Samuel L. Jackson proud.

The plot is borderline ridiculous and certainly doesn't stand up to close (or even not-so-close) scrutiny, but there's a level of entertainment to be had watching it unfold in all its strangeness.

It’s closer to horror than the usual lightweight fare one finds in the genre.

Goldthwaite's script has the honesty of someone speaking with the voice of experience.

Although Around the World in 80 Days offers gorgeous visuals, that’s not sufficient justification for watching a film – any film – for three hours.

From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.

The Drop's unpredictability is organic rather than sensationalistic. The movie doesn't pull surprises out of thin air for the sole purpose of shocking an audience - it lets them develop naturally.

An incomplete movie, artlessly cleft in the middle. Cinema interruptus.

One Life feels like something straight out of the 1990s when many low-key, non-U.S. dramas were being embraced by art house devotees and more adventurous multiplex visitors. The movie is neither showy nor ostentatious. It tells a story in a workmanlike fashion that allows viewers to learn a little bit more about the central figure and why his life is deserving of a big-screen treatment.

This is not the first time Wright has shown his understanding for such things, nor is this the first occasion in which he has displayed a strong sense of comedic timing, but Scott Pilgrim vs. the World feels fresher and more inspired than his previous outings, and that makes it an excellent source of late-summer entertainment.

In his latest diatribe, Moore throws everything at the viewer including the kitchen sink and hopes something – anything – will stick. Sadly, not much does.

By mixing slapstick humor, outright silliness, and a psychedelic edge, Doff trades tension for laughs. He also has a political point to make about class divisions and the haves-and-have-nots.

In the end, the story becomes a little too convoluted and the resolution is over-the-top but, for the most part, the twists and turns keep the viewer engaged, the puzzle pieces fit together on a second viewing, and Rylance never ceases to mesmerize.

A mildly enjoyable romantic comedy.

A beautiful film, not only in the way it was photographed, but for the manner through which the characters are revealed to us.

Agreeable enough motion picture, but not one that leaves any sort of lasting impression.

While Changing Lanes isn't a perfect movie, it's watchable and compelling, and works on more than one level.

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

The truth can indeed be stranger than fiction and, in this case, were the story to have originated in the imagination of the screenwriter, it could rightfully be criticized as artificial and contrived. But, disturbing and unlikely as it may be, this stuff actually happened, and pretty much as Craig Zobel relates it.

It's tough to make a good tearjerker - one need look no further than this misfire to understand why.

The movie is not realistic, but the strong element of fantasy doesn't limit its ability to captivate and intrigue. That's because the characters and their relationship rise to the top and arrest our attention from beginning to end.

"Capote" is the more intellectual of the two films; Infamous is the more emotional. They exist to complement, not eclipse, one another.

The plot, credited to Simon Pegg & Doug Jung, is pure Trek. Unfortunately, it’s also instantly forgettable.

Stirring and emotionally forceful.

Although Like Crazy contains some emotionally on-target scenes, the movie as a whole feels glum and artificial. The characters, especially the male lead, are so low key that they're frustrating to watch.

The Hunger Games represents the best first book adaptation of any of the three series. It surpasses Christopher Columbus' "Harry Potter and the Sorcerer's/Philosopher's Stone" by a whisker and Catherine Hardwicke's "Twilight" by considerably more than that.

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

It comes across as painfully politically correct, offering trite sermons on various "hot-button" issues (gun control and the greenhouse effect). The narrative follows an unwavering by-the-numbers strategy with an ending that echoes the "cornball" of Al Pacino's climactic Scent of a Woman speech.

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

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.

For those interested only in a visual fleshing-out of a Wikipedia entry, Class Action Park does the job. Anyone hoping for more won’t find it in this unremarkable piece of nostalgia-bait.

Pig in the City has been designed with the goal of recapturing the enchanting feel of the original while taking the story in new and different directions. It succeeds at both aims, standing as a worthy sequel to one of the decade's most innovative family features.

Offeris an exhilarating, and occasionally touching, experience that has viewers leaving the theater caught up in an afterglow of wonder. These days, heros like William Wallace are as rare as motion picture displays of this high, uncompromising quality.

Kevin Bacon and Marisa Tomei make the most of their limited screen time, injecting straight comedy into a movie that occasionally comes close to losing its sense of humor.

Although engaging, Deepwater Horizon ultimately offers a mixed bag of an experience. The setup is considerably better than the payoff, front-loading the experience.

For a while, Limbo seems like it might be a slow-burning romance and tale of redemption, but, as is often the case, Sayles takes his audience in unexpected directions (unexpected because they defy comfortable, traditional narrative routes).

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

Fighting with My Family is as likable as it is generic. Pugh’s performance is the best thing about the movie but the story, despite Merchant’s comedic flourishes, feels stale at times.

The problem with End of Watch, a gripping police drama, is director David Ayer's stylistic decision to shoot nearly the entire movie tripod-less. Or, to put it another way, there's a whole lotta shakin' going on.

The best thing I can say about Apocalypto is that, despite belonging to an overpopulated genre, it's unlike any other movie to reach theaters this year and, because it is as visual an experience as it is visceral, it is best seen on a large screen.

Boiling off the divisive political subtext and its associated sociological aspects, what we’re left with is an old-fashioned exploitation thriller. Seen in that context, The First Purge isn’t half-bad. It’s competently made, delivers its share of thrills and edge-of-the-seat moments, and gives the audience an opportunity to stand up and cheer.

It's better than most dramas showing in multiplexes.

Smile represents the latest in an impressive roster of horror films that have pushed the envelope, daring to go where most cookie-cutter fright-fests of the past decade have avoided treading. This is a dark, uncompromising movie that explores serious subjects like trauma and suicide.

The sequel often plays like pro-Biden campaign propaganda. This film isn’t going to be warmly embraced by many Republicans. Sacha Baron Cohen doesn’t simply skewer them; he spit-roasts them over a roaring fire.

That's what we get with The Adventures of Tintin - an unplayable video game that's fast-paced and amusing but never coming close to the best director Steven Spielberg has offered when in his "pure entertainment" mode.

The pervasive aura of creepiness more than compensates for the low body count and inventive use of sharp instrumentation.

Does what it sets out to do: educates about a mostly unknown historical figure (without doctoring the facts too much), entertains, and uplifts.

Ask Dr. Ruth takes the caricature of the middle-aged, diminutive sex therapist and, through the use of documentary techniques, expands and deepens the viewer’s understanding of the woman behind the image.

This film is the complete package, and offers a thoroughly satisfying two-plus hours in a darkened theater.

A meditation on the pain suffered by a mother when her child turns out to be a monster, We Need to Talk about Kevin is the perfect tonic for holiday cheer.

Watching Thunderbolts*, it’s easy to forget this is Marvel. Bringing together the flotsam and jetsam of the MCU and allowing them to have their own adventure (without any major cameos) goes against the grain for a film studio whose mantra seems to be “Always Be Escalating.”

While Monster House is in no way groundbreaking, it's an enjoyable way to spend 90 minutes, and is suitable for all but the youngest children.

As a dramatic thriller, Black Mass has trouble getting into low orbit. There are some tremendous scenes but the narrative as a whole feels more like a chronology of dastardly dealings than the epic tale of a criminal's rise and fall.

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

The film will almost certainly speak most strongly to those viewers whose age approximates those of the characters, but the narrative and performances are strong enough to involve anyone who gives this motion picture a chance.

Many times, films that combine comedy and drama do so in an uncomfortable and unwieldy manner. In Slums of Beverly Hills, the approach is natural and satisfying.

Infectiously entertaining comedy.

It is not a step-by-step chronicle of German reunification, but it gives a perspective of the time. It's a bonus that this comes as part of an engrossing and well told story.

Jumanji takes approximately one-hundred minutes for four people to play a board game. The result isn't much more fun or involving than watching a few friends play Monopoly.

Sure, the viewer who wants to see a tightly-paced thriller with gun-play and emotionally-satisfying moments won't be disappointed, but there is a little more here than simple escapism. Although it takes a number of wrong turns, Falling Down still has the power to disturb.

It is a mystery and a courtroom drama. Above all, however, it is a tale of love and sacrifice.

This is a high-wire thriller, full of masterfully executed twists, captivating dialogue, and a wildly entertaining narrative that gallops along at a pace to make three hours evaporate in an instant. Best film of the year? Yes.

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

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.

There is so much in this film that it cannot all be absorbed in one viewing. Nashville demands to be seen repeatedly, if only so that the movie-goer can recognize previously missed elements. This repeatability is one of the traits of a masterpiece, and, regardless of the criteria applied, Nashville surely must be considered as a modern classic – a motion picture whose scope and influence extend far beyond what is displayed on screen during its 160-minute running time.

Dealing with subjects that could easily have emerged half-baked, Lee instead applies his talent and comes up with a dish cooked to perfection.

An infectious mix of romance, mystery, and magic.