James Berardinelli

Although not as good as the first Sisu—which made my 2022 Top 10 and has since become a cult favorite—Road to Revenge is a worthy follow-up.

While this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.

12 Strong represents a recent war as depicted on screen in an old-fashioned way.

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.

With an unnecessarily protracted running length of more than 140 minutes, Rio Bravo at times moves too slowly for its own good but the climax is as rousing as that of any Western made during the decade when the genre was at its peak.

Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.

Manages to entertain, even though it stays on the surface. It fails to deliver the hoped-for knockout, but also avoids the pitfall of an early-round collapse. While not attaining the greatness of its subject, it rises to a level somewhere above mediocrity.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

There's a lot of fun to be had in watching The World's End and, surprisingly, more thematic depth than one might expect. The humor, true to its British roots, may baffle some Americans but those who "get" it will laugh quite a bit.

Brazil can be enjoyed without knowledge of the behind-the-scenes circumstances but the rich irony of the parallels between Gilliam and his fictional creation, Sam Lowry, add a layer of appreciation to the project that it otherwise lacks.

For what it is, Assault on Precinct 13 delivers. It's not great art, but, for B-movie fans and those looking for a mid-winter jolt of energy, it's good fun.

An enjoyable experience.

The Bourne Ultimatum provides a lot more suspense and tension than "Transformers" could hope for.

Den of Thieves delivers an above-average cops-and-robbers heist film.

Despite being overlong, Blackhat is mostly engaging. The narrative features one major change of direction and things get increasingly preposterous as the climax approaches, but that's not unusual in this genre.

In a curious way, Snatched is a little like an Amy Schumer stand-up routine: sometimes edgy, occasionally hilarious, and lessened by the bits that fall flat.

Gerwig transforms the ordinary screenplay into something that is by turns charming, touching, and funny.

Although the forced ending, which seems deigned to create an unnatural moment of triumph, weakens the climactic catharsis, it doesn't diminish the naked honesty which forms the foundation of Dolores Claiborne.

Most of Sing's creative energy was invested in the musical numbers and, fortunately, that's where it shines. But the film really can't go toe-to-toe with heavyweights "Zootopia," "Moana," "Dory" or even the little-seen but superior "Kubo."

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.

On balance, it's a good movie but not a great one. Probably the only reason it's getting North American distribution is because of the involvement of Liam Neeson.

With Legend of the Sword, the filmmaker isn’t remaking or adapting anything. This is his version of Arthur’s origin story and, if nothing else, it’s kinetic and attention-grabbing.

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.

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.

The movie is consistently well-acted and features a gallery of characters so affable that it's difficult to actively dislike any of them, or, for that matter, the film as a whole.

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

A curious mix of the campy and the intelligent, of high concept and low psychology. In spite of these contradictions, or perhaps because of them, it works. This is a tense and engaging thriller.

Although A United Kingdom has a social agenda, it is first and foremost a love story. Like "Loving," it’s about how the affection between a man and a woman of different races affects not only their immediate social circles but has ripples that wash over the entire world and impact history.

It falls short of brilliant but it's a lot more daring than what passes for "dark comedy" these days, and it reminds us that "feel bad" comedies may not always be as funny as "feel good" ones but, when they work, they can ultimately be more satisfying.

To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.

For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.

Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before.

Into the Storm is as straightforward a disaster film as you're likely to find.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

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.

Lacking even a line of dialogue and using hand-drawn images, The Red Turtle is more about feel and look than narrative. The story is a means to convey illustrations and emotions.

A case can be made that the movie is so enamored with this aspect of its approach that it fails to connect on an emotional level. Shutter Island addresses some powerful, disturbing concepts but, despite effective performances by the leads, the movie's psychological impact is minimal.

Although there are times when the dialogue is downright insipid, it contains enough wit to provoke frequent chuckles (and maybe even a few guffaws – Andy Garcia has a laugh-out-loud one-liner) and the movie quadrupoles down on the romance element.

Spielberg has always shown a penchant for overt manipulation, but nowhere is this more obvious than in E.T., where he pulls out all the stops in an effort to bleed tears from the eyes of every audience member. It doesn't take a cynical nature to recognize what the director is doing. [2002 re-release]

Too many comedies have become routine and predictable - qualities that don't enhance the potential for good laughs. Neighbors retains sufficient spontaneity to give it a fresh, lively feel.

Like "The Apostle," it exists off the beaten path and will not satisfy mainstream viewers. Yet, for those who do not demand a firm adherence to formulas and genre-driven expectations, this movie offers the chance to see something a little different.

Produced during the pandemic and available on Netflix, the movie is well worth a look both as an exploration of love’s bitter aftermath and as an example of how art can bloom even in the most challenging circumstances.

What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.

Visually, X2 is a sight to behold, with impressive special effects and a dynamic sense of place.

Offers two hours of solid entertainment.

A harrowing experience for those to whom this sort of story appeals.

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

By employing nostalgia but not relying exclusively on its effects, the filmmakers are able to tell the story of how the program started with details that may surprise all but the most knowledgeable of fans.

This is the most mature animated feature since "Rango."

Ultimately, the film’s tone is hopeful. That at least saves Thank You for Your Service from being a complete downer.

There's still quite a bit of the essence of "Dead Poets Society" in The Emperor's Club. Thankfully, however, the level of schmaltz and manipulation has been greatly reduced.

Against the backdrop represented by stark images of abandoned buildings and lost dreams, the tale that is City by the Sea emerges, with the power of the visual cues giving this film its forcefulness.

Beautifully photographed and tightly paced with a spate of solid performances, this latest Kipling-inspired motion picture is an enjoyable and exuberant film-going experience.

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.

Offers everything a good movie of this sort should: plenty of suspenseful action, a few good laughs, and a share of obligatory "reluctant buddy" bonding.

Jack Ryan: Shadow Recruit provides the best motion picture adventure for the title character since his introduction in "The Hunt for Red October."

Even though Toy Story 4 sometimes feels like a regurgitation and retread of the earlier films, there’s something warm and comforting about spending 100 minutes in their company again.

Perhaps the best thing that can be said about Thor is that it doesn't feel like a cookie-cutter superhero comic book origin story.

Yet, although Stone has clearly made this motion picture with his tongue planted firmly in his cheek, he nevertheless manages to capture all of the tension and mystery necessary to hold the viewer's interest.

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.

There is enough depth in this picture to fill up several movies, yet The Wedding Banquet shortchanges none of its interwoven storylines. While I won't go so far as to say that this is a magical motion picture, it certainly serves as excellent entertainment on more than one level.

Most war films try to be epic in scope and intent. Lone Survivor opts for a smaller focus and succeeds on its own terms.

Imogen Poots and Zoe Saldana add their names to the project but, although they give solid turns, their roles are secondary. The star is relative newcomer 15-year old Madison Wolfe, whose performance is note-perfect.

Much of what's contained in Phantom is at best speculative and at worst completely made-up. But, regardless of the accuracy, it makes for compelling viewing. Phantom is one of the best films of a lousy early 2013 release roster.

Jose Padilha's Robocop reboot does some of the things a good remake should do: it retains the central ideas and themes of the original while updating and rearranging the narrative to lose a derivative feel.

Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.

The cinematic horror genre, like the science fiction one, has been badly hamstrung by poor films, and several of the Nightmare on Elm Street entries have been at the forefront of the decline. Therefore, it's somewhat ironic that one of the most intelligent and creative efforts to come along in a while bears the Nightmare theme, title, and signature villain.

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

"Innovative" is not a legitimate description of The Fugitive, but "entertaining" is.

The Founder represents two hours well-spent, especially for anyone with a fascination for complex characters or an interest in the shenanigans that transformed an unpretentious local restaurant into a global force. You probably won’t ever again think of McDonald’s in quite the same way.

Pumpkin's two greatest strengths: the majority of the film is original and engaging, and Christina Ricci turns in another fine performance. This pair of assets alone is worth the price of admission.

Bottoms achieves what it sets out to do and, in the process, provides a multiplex-friendly indie movie with breakout potential.

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

There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.

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.

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

Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.

By blending facts, myths, and made-up material, Lemons weaves a strong, engaging tale but, at least on some level, there’s a sense of a missed opportunity to do something grander.

The core relationship is what makes the movie with this ill-advised title a well-advised choice.

Are you a Kevin Hart fan? Then drop everything and rush to see this movie. Are you not a Kevin Hart fan? Then move along, there’s nothing here to see…

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

Crazy Heart is the country music version of "The Wrestler": a grizzled veteran whose days in the spotlight are behind him struggles to keep going while seeing the world through a haze of regret and booze.

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

With a cast of characters so large that Robert Altman would feel at home, Big Trouble manages to do a lot of clever little things and generate quite a few big laughs without wearing out its welcome.

As a documentary, this movie has the same problems as all of those in Moore's oeuvre; as a polemic or a visual op-ed piece, it's an effective piece of filmmaking.

It's the depiction of the love and sacrifice of a father for a son that makes Life is Beautiful worthwhile.

August: Osage County is all about the acting. That makes sense because the storyline doesn't offer much that could be considered new or remarkable.

At its best, this film echoes the creepiness and tension of "Alien." At its worst, it sinks into the pretentiousness that at times threatened to derail "Prometheus."

The period detail is impeccable and The Devil All the Time gets high marks for its establishment of time and place.

Woo is in fine form, employing every weapon in his considerable arsenal: slow motion shots, billowing clothing (scarves, loose jackets, the dresses on flamenco dancers), pigeons taking flight, lots of martial arts/WWF moves, and a fluid but constantly-moving camera.

The performances are universally strong - not that one would expect anything else considering the quality of the cast.

Williams nails it.

A fascinating time capsule: a combination of talking-head interviews, actual footage, and re-creations that evokes a kinder, gentler world and provides insight into one of the most audacious stunts of the 20th century.

Does not surpass Kevin Costner's "Open Range" for the title of Best Western of 2003, but it's a worthy effort and makes for an enjoyable (if slightly overlong) two-plus hours.

At times compelling, at times devastating, and at times long-winded.

It is by no means an “easy” movie with its somnambulant pace being a significant drawback. However, the movie has qualities that make it hard to forget and, on that basis alone, it is recommended viewing material for anyone serious about film.

Relying more on existential and philosophical issues than action or cheesy special effects, Realife represents the kind of movie I want to see more of.

There are times when the Russos almost get us there but they can’t quite make it. As a result, Cherry comes across as ambitious but not entirely successful. The directors deserve credit for weaving together so many contemporary issues into a single, digestible story but there’s too much material here to do consistently well in a 2 ½-hour movie.

As is usually the case with a well made sports movie, you don't have to appreciate the particular sport in order to enjoy the movie. 8 Mile has not been made solely with fans of hip-hop music in mind.

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.

Geared more toward teens, although that won't prevent older viewers with an affinity for romance from appreciating the vibes it gives off.

It’s a no-holds-barred action-oriented epic that doesn’t much care if it makes sense as long as viewers are amped-up and engaged. When the end credits roar onto screen with a full-throated rendition of Lalo Schifrin’s iconic theme song, it’s hard to argue that a good time wasn’t had by all, even if that “time” lasts longer than necessary.

It’s a strong performance of a character worthy of biopic treatment. Dolemite lives!

A tremendous improvement over the tepid 1995 original, this quasi-sequel brings humor, fun performances, and a canny understanding of late 1990s-style video games to a party that never takes itself seriously.

Voyeurism is a favorite pursuit of Americans, and The Girlfriend Experience works in large part because it indulges that pastime. The fascination with the film is that it offers an arm's-length opportunity to peer through a peephole into a lifestyle that will be exotic and alluring to most in the audience.

Although Halloween Ends is a better-than-serviceable slasher film, its old-school approach to horror might feel dated in comparison to the flow of new, more intricately plotted films in Hollywood’s post-pandemic pipeline.

For Your Eyes Only is a solid adventure, although it could have been better. There's enough action to hold those with even a short attention span, and Roger Moore's deft charm hasn't yet begun to wear thin.

Writer/director Bobcat Goldthwait has an ax to grind and, once he's done grinding it, he uses it to split some skulls. God Bless America is many things - audacious, bitingly satirical, unafraid of venturing into uncomfortable territory - but it is never subtle.

In this impressive debut, Solonz doesn't pull any punches in conveying the side of junior high that "The Wonder Years" never depicted: the naked cruelty that some boys and girls suffer at the hands of their classmates, their teachers, and even members of their own family.

The Astronaut Farmer is one of those movies that makes an audience want to cheer and clap.

Although a heist film with a high testosterone quotient might not be everyone’s favorite wintertime treat, it’s an effective antidote for all the highfalutin Oscar wannabes out there.

One would be hard-pressed to consider The Perfect Storm “triumphant” or “uplifting” but both terms could be used to describe The Finest Hours.

Rarely are the characters as well developed and believable as they are here.

Whether your political persuasion is Democratic, Republican, or somewhere in between, The War Room offers a fascinating insider's look at the turbulent 1992 Presidential campaign. Anyone with any interest in politics or elections will be engrossed, so it's a pleasure to note that the directors plan a followup in 1996.

Above all, however, Kevin Spacey is the reason to see Casino Jack. This movie will stand alongside "The Usual Suspects" and "American Beauty" as examples of what the actor is capable of accomplishing when he is properly motivated.

The film is constructed in such a way that suspension of disbelief isn't too hard because there's something universal in what Allen explores. Like Santa Claus, we know it's not real but the idea is so appealing that we go along with the fantasy.

Moneyball comes to life when elaborating on Beane's unique system of player selection, and the on-field baseball action is at times electrifying, but it trends toward the generic when tailing him away from the stadium.

By limiting the number of special effects shots and treating the film more like a horror movie than a science fiction spectacle, Shyamalan creates a claustrophobic atmosphere and keeps the tension level high. There were times during this film when I was strongly reminded of "Panic Room."

The movie's action largely takes place beneath the skin. The pace is slow but not glacial, yet Claudel demands patience. Ultimately, I've Loved You So Long is uplifting, although one might not expect that from the thematic material.

American Fiction is the best kind of satire – one that is full-throated in its message, which it delivers with a cutting edge, while simultaneously taking the time to develop the characters in a meaningful way.

Petersen takes what could have been a muddled motion picture and structures it perfectly, creating a strong piece of entertainment. It helps, of course, that he has a capable cast.

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

If you have to see one penguin movie, this is it.

As Tom Hanks did in "Cast Away," Will Smith pulls off this half-insane role perfectly.

The Virginity Hit is fresh, unpretentious fun, but the comedy is so raw that it will appeal only to those who appreciate this sort of unfiltered peek into the mind of males in their late teens and early twenties.

The problems with 10 Cloverfield Lane result from attempts to tie it, however tenuously, to the earlier movie. Take away the disappointing, disjointed, and anti-climactic final act, and this is an effective white-knuckle psychological thriller.

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

This is one of the most effective depictions of Arendt’s “banality of evil” that I have seen and that’s in large part due to the unconventional tactics employed by Glazer in bringing this story to the screen.

Put this one squarely in the “guilty pleasure” category. And keep in mind that if you can’t be entertained by a thirteen-year old girl ruthlessly dispatching evil-doers in ways that will make a horror film fans tingle with glee, this may not be your cup of tea.

The movie does what all good thrillers should do -- provide enough shocks and surprises to keep us guessing, and never lets up on the suspense until the end credits arrive.

Director Anton Fuqua has jettisoned almost everything related to the TV series except the title, the main character's name, and the bare-bones premise. Even the theme song is gone. For all intents and purposes, The Equalizer isn't so much a reboot as it is an entirely new entity.

I enjoyed 2 Days in the Valley. It's pure entertainment – nothing too serious, nothing too deep – with an artistic sensibility. It's rare for movies these days to recognize that the audience might have an intelligence, and even more unusual for them not to talk down to those in the not-so-cheap seats. So, if you're looking for some smart fun, John Herzfeld's feature is a worthy choice. And you don't need two days – just two hours.

Triple Nine turns out to be a thoroughly entertaining (although violent) thriller.

At times, the movie gets bogged down in minutia but the emotions evoked and captured are as honest and brutal as one is likely to find on film.

Micmacs is an inventive romp punctuated by the kind of quirkiness Jeunet has brought to all his films.

Not since Dr. No has 007 been so cool and ruthless, and never has a plot been this close to realistic plausibility.

Overall, The Power of the Dog probably isn’t as powerful or wrenching as Campion intended for it to be but it remains an unsettling piece of cinema. It’s also a reminder that the Western is a broad enough genre to encompass much more than just “Cowboys and Indians.”

The problem with An Inconvenient Truth isn't the message; it's the messenger.

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.

Mamet illustrates that he can work as capably from someone else's script as he can from his own, and that his talent as a director is not eclipsed by his ability as a writer.

Jolie's account is mostly accurate but coldly clinical. The story is effective in relaying Zamperini's narrative but lacks both the gut punch one often gets from prisoner-of-war narratives and the full catharsis one expects at the end.

Like the real Eddie’s 1988 Olympic experience, however, the movie’s memory is likely to fade fast.

The Brothers Bloom with satisfy those with a yearning for lighthearted heist tales, comedies, and offbeat romances.

It's refreshing to see an old subject dealt with in the open and original manner that The Snapper handles pregnancy. The marriage of humor and drama is admittedly imperfect, but it works well enough to occasionally spawn laughter and touch the heart.

Although Harry Potter and the Prisoner of Azkaban stands well enough on its own, it has a "middle chapter" feeling. In other words, there's no real beginning or ending. Little is resolved and the film's climax is low-key.

It's difficult to say whether the main problem with Iron Man 2 is that it suffers from too much plot or too little.

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

Writer/director Jeremy Leven takes pleasure in clouding the division between what's real and what isn't, but he never stretches matters to such an extreme that Don Juan DeMarco is reduced to a mindless farce.

With top-notch animation, effective voice casting, and a screenplay that falters only toward the end when faced with the need to provide a resolution, The Boxtrolls offers solid entertainment for older children and the parents that accompany them.

The Reader is closer to a near miss than a rousing success but, on balance, this is still worth seeing for those who enjoy complexity and moral ambiguity within the context of a melodrama.

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.

It's a thrill-a-minute ride that concludes with a whimper, like a roller-coaster that has all the drops and twists early. Make no mistake, this is a good source of early summer fun, but with a little extra imagination, it could have been a whole lot more.

The film's ending is a little unanticipated, and, although there are a few too many surprise revelations in the last 20 minutes, they all work reasonably well to enhance, rather than diminish, the central theme.

It delivers pretty much what's expected.

The fact that Reign of Fire does what it sets out to do is a cause for celebration amongst those who like special effects-laden action movies featuring fire-breathing monsters and mayhem.

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.

It doesn’t feel fresh, but neither is it stale. Despite the very modern setting, the throwback elements are by far the most welcome aspects being offered, proving that sometimes, sticking to the basics is the smartest move a director can make.

There's something delightfully old-fashioned about Steven Soderbergh's Side Effects. It's the kind of thriller that Alfred Hitchcock might make if he was still alive and active today.

The script doesn't do a great job with either the spiritual or the physical trek, but the spectacular action sequences occur with enough regularity that strong writing isn't necessary to keep Waterworld afloat.

This is as pure a narrative-based film as one is likely to find; the men and women populating 6 Days exist primarily to move the story along.

The Black Phone 2 stands as a strong companion piece to the original—firmly rooted in horror, maintaining continuity, yet not shackled by the tropes its predecessor embraced.

This works effectively as a stand-alone film and part of a larger story, and finds a way to extend the Quiet Place concept without feeling redundant.

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

This is solid, middle-of-the-road entertainment. Slow patches aside, it finishes strong and, although it probably won’t win the box office race, it may generate some Oscar interest (because Bale is almost always good enough to warrant that sort of attention).

Despite its share of missteps (the most egregious of which unfortunately occurs late in the proceedings), Limbo is just weird and wonderful enough to earn a recommendation. What starts out as an exercise in absurdist and surreal comedy turns into a serious examination of the artificial boundaries that have been drawn to divide humanity in the name of nationalism.

Hereafter is a fascinating, absorbing motion picture, but will work only for those willing to surrender to the story as it unspools at its own deliberate rate.

First-time director Russell Harbaugh presents grief as it is, in all its pain and ugliness, rather than using the convenient, uplifting short-hand that Hollywood prefers.

For those who like the director's body of work, appreciate "The Twilight Zone," and have a high suspension of disbelief threshold, The Village is likely to satisfy.

70% style and 30% substance. It has a plot and characters, but those are almost beside the point.

This is an unusual source of entertainment.

For a horror movie, Oculus is surprisingly lean on the scares. It's more interested in playing tricks with perception and bending reality.

The film offers everything one could ask for from popcorn entertainment.

This is a brave movie because it addresses a subject Hollywood feels uncomfortable about.

In order to show the "happiness" noted in the title, director Peter Chelsom ventures into some dark territory to provide a contrast. This results in a surprisingly unpleasant scene of torture and deprivation that may shock some viewers expecting to see a lightweight Simon Pegg dramedy about the meaning of joy.

This is “more of the same” but, at least in this case, that’s a good thing.

Finding Dory is enjoyable in its own right, even if its powerful sense of déjà vu keeps it from approaching the pinnacle of the Disney/Pixar collaborations.

This is the best adult holiday film in a while.

Jesus Camp is not a "hatchet job." The filmmakers did not go in with an anti-Christian agenda and use selective editing to prove their point.

Grumpy Old Men works more often than not. It's an example of a frothy, good-natured holiday picture that adults can relax and enjoy. As a comedy, the movie contains enough fresh humor to keep the laughs coming.

What sets this movie apart from the innumerable other entries into the action/caper genre is its social perspective. Set It Off doesn't preach, but you'd have to be blind not to recognize that there's a message here about the kind of desperation that can result from the familiar cycle of poverty, sexism, and racism.

Well-made and deserves recognition as one of the year’s best family offerings (thus far).

Although aspects of All of Us Strangers have a cheesy flavor, the raw honesty of the movie’s best moments propel the narrative through its less credible pitstops.

A respectable caper movie in the tradition of "The Sting" and David Mamet's "Heist."

Although the majority of the movie focuses on the interaction between Mark and Cheryl, there is a third character in the mix. Catholic priest Father Brendan, played by William H. Macy, belongs to a liberal wing of the Church found only in movies.

Ultimately, however, A Dangerous Method is less about the formative years of psychotherapy and two of its progenitors than it is about a rule-breaking extramarital affair.

When it comes to war love stories, The Promise isn’t going to challenge Casablanca. The movie is stronger when presenting the political situation than the romantic one.

Builds up enough good will during its successful first half that we're willing to forgive some of the strange and disappointing convolutions the plot takes us through during the final 45 minutes.

Sure, there's a plot, but it's a secondary element to the lines the actors deliver. Only Oscar Wilde has the same bite. Fortunately, Elliott understands this, which makes Easy Virtue go down smoothly.

As a race-against-time, Jason Bourne-inspired adrenaline cocktail, Criminal offers a couple of hours of popcorn-munching entertainment.

I.S.S. doesn’t disappoint but neither does it go above or beyond what one might reasonably expect based on the trailer.

This is a fine motion picture with a couple of superlative performances. It is arguably the best, most honest bio-pic of the year.

Frequently funny and occasionally hilarious.

It delivers what it's expected to deliver, and that's likely to make it a success with anyone who laughed his ass off two summers ago.

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

For those who aren't offended by extreme profanity and violence, Suicide Kings offers a kinetic and surprisingly funny two hours.

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.

A fast-paced, engaging science fiction adventure tale.

Although the moral ambiguity of Straw Dogs has been softened in the remake, the message and the forceful way in which it is delivered remain the same.

K-19 will not go down in the annals of cinema as one of the great submarine stories, but it is an engaging and exciting narrative of Man confronting the Demons of his own fear and paranoia.

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

There's an almost poetic quality to the way things develop, with characters becoming increasingly introspective.

Long Shot, a production that’s as much a fantasy in the political realm as in the romantic one, is a pleasant trifle that leaves behind a warm fuzzy feeling, which is all one can realistically ask of movie of this sort.

Death at a Funeral does what a good comedy is supposed to do: generate laughter. The humor gradient is lopsided - the second half, which builds comedic momentum, is significantly funnier than the first half, which is mostly set-up. Still, any such unevenness aside, the overall impression is one of enjoyability.

It's rare for homosexuals in mainstream motion pictures to be presented as individuals rather than icons; Love! Valour! Compassion! defies tradition by proffering its characters as real people with believable problems.

Scholars, psychologists, and theologians can debate the point at length, but there's no doubt that Meyjes' approach is as provocative as it is controversial.

Taken as little more than six disconnected shorts featuring the same group of players in different roles, Cloud Atlas works. It's entertaining and the manner in which it has been edited reduces one's tendency to lose patience with the less engaging stories.

There's a good dose of reality in this story, even if the script occasionally becomes too preachy. The end sequences especially could have been toned down.

Steve Carell's portrayal of Max is just about perfect for the material.

As thrillers go, The River Wild is a cut below a "white-knuckler," but it still has its share of spills and chills.

Although the narrative for Their Finest occasionally rambles (too much time is spent buffing Ambrose’s backstory, which is only tangentially germane to the main tale), it is by-and-large a stirring drama that incorporates lighter moments with scenes of deeply felt tragedy.

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

Apocalypse Now is one of those flawed films that contains enough masterful sequences to compel a viewer. Redux is merely a curiosity, and of interest only to those die-hards who believe this movie to be one of the greatest pictures ever to be projected in a theater.

An engaging romantic comedy that would have been better if the audience wasn't constantly being distracted by mediocre video quality and jerky camera movements.

White Squall is a success because the good elements are so well-orchestrated that they dwarf the few obvious flaws. This film offers just about everything, including a twenty-minute white-knuckle sequence and a chance to shed a few tears. In short, it's first-rate entertainment.

Regardless of who sees or doesn't see Dallas Buyers Club, however, the movie does what it sets out to do by providing a striking portrait of a remarkable character and offering a history lesson to those too young to remember how things were for AIDS sufferers during the dark ages of the 1980s.

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.

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.

Dangerous Beauty is a lavish historical melodrama that has enough suds, sex, and flashes of flesh to appeal to soap opera-lovers and enough substance to attract those of a more intellectual bent.

The end result is a pleasant experience that is more appropriate for families than for adults unaccompanied by young offspring.

Although not on the same level as Haynes’ best movie (2015’s Carol), this one highlights the director’s ability to explore complex and dysfunctional human relationships with insight and intelligence.

Perhaps the best thing that can be said about An American in Paris is that it led directly to the production of Singin' in the Rain. Without the former, there might not have been the latter. Gene Kelly remains one of the best and brightest of the Golden Era musical stars and An American in Paris shows him in fine form. The movie should be remembered for that quality rather than for its questionable Oscar triumph.

Ted is essentially a one-joke movie. Okay, it's a very funny joke, but it's still only one joke.

Phantom Thread, Paul Thomas Anderson’s follow-up to 2014’s Inherent Vice, feels a little like a mash-up of Bergman and Hitchcock without the verve of the latter and the subtleties of the former.

It may not be frivolously engaging but it is compelling.

Whether or not Kusama made this film with the intention of proving that this kind of story, often presented with a male character and from a male point-of-view, can be as compelling (and perhaps even more so) with a gender-flip, she has achieved that.

The 30-minute finale, which includes a tense stand-off with Ben's gang, is masterfully executed. It's perfectly paced, suspenseful, and ends in a way that's both appropriate and satisfying.

Nicely paced and fits the bill for those in search of two hours of spy-based action and martial arts. The movie has credibility issues, but none are insurmountable in the name of entertainment.

The Cured suffers from a common marketing problem that afflicts many horror-cross-something hybrids: it’s at times too slow and existential for pure blood and gore lovers and too grotesque for those with a penchant for offbeat, idea-based allegories.

It's a taught, entertaining motion picture that serves its purpose.

As ghost stories go, this one is handled with great subtlety and delicacy.

The Devil Wears Prada is two films in one: a caustic, energetic satire of the fashion world and a cautionary melodrama. The first works; the second doesn't.

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 writer/director tries hard to make Minari what it is – a collage of remembrances seen through the eyes of a child then filtered through the perceptions of the fortysomething man he became. It’s a rewarding but not overpowering experience.

Although it might seem odd to call a disaster film “low-key,” the label applies in this case. That shouldn’t be interpreted as a criticism. There are times when a less-is-more approach results in gripping entertainment and The Tunnel is one such example.

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.

Although nowhere near as lush, artistic, and downright entertaining as the Warren Beatty/Faye Dunaway interpretation, The Highwaymen hews closer to the historical facts (with the climactic ambush being filmed on-location where it happened).

A cagey, claustrophobic noir thriller highlighted by a few clever plot twists, some nicely- honed dialogue, and a half-dozen top-notch performances.

How Green Was My Valley is dated and quaint, but many of its smaller details - such as the poignancy of looking back to something that no longer exists - nevertheless strike a resonant chord.

Constrained by expectations and established character/plot limitations, Incredibles 2 lacks the freshness and ingenuity displayed by its predecessor. It’s good, fun family entertainment but it’s not incredible.

The Fabelmans isn’t likely to go down as “Great Spielberg” or even “Very Good Spielberg” but it’s a warm, enjoyable plunge into the 1950s and 1960s.

Knowledge is not always a good thing and observing how one individual handles this unusual fantasy-tinged situation provides enough compelling drama to make Mark Fergus' debut feature a source of suspense, intrigue, and philosophical musing.

Despite being broadly classified as an "adventure", it has depth and breadth that would put many dramas to shame. Well-produced, acted, and scripted, this is a film that has to be seen to be experienced, even by those who know the entire story.

I, Tonya holds our interest by exposing the falseness and commercialism of Olympic-level skating competitions and illustrating how the perseverance shown by Tonya is perceived not as an asset but a character flaw. The film’s strength is that it does more than simply make us laugh.

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.

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

The synergy between the root cause of the peoples’ unrest and some of what we see today will not be lost on many viewers; it gives Peterloo a sense of immediacy that some history-based films don’t have. I learned things while sitting in the audience and that’s a claim I rarely make about any motion picture circa 2019.

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.

With its curious fusion of tear-jerking drama and fish-out-of-water humor, Rental Family is indeed a strange brew—one of those films that sounds slightly ridiculous in synopsis but blossoms into something unexpectedly tender when experienced moment-to-moment.

With Bombshell, thanks in large part to the contributions of his actors, Roach has crafted a compelling “ripped from the headlines” motion picture that unfolds like a page-turner. Unfortunately, with little room for nuance or detail, it lacks the depth necessary to make it more than a superficial dissection of what amounted to low-hanging fruit in the 2010s series of major headline sexual harassment revelations.

It's a symphony of solid storytelling and good feeling that pays tribute to Hollywood's rarely-seen, gentler side.

Anthony Hopkins is probably a shoe-in for an Oscar nomination.

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.

A cut above the average politically-based thriller.

Calling Maleficent a "modern-day classic," as some have asserted, is overreaching. The production is engaging and appealing but only the passage of time will determine whether it holds in the memory with the strength of its animated predecessor.

There's not a single original moment to be found in Pacific Rim's 130-minute running time, but that doesn't much matter because the familiar beats are conveyed with maximum expertise intended to provide a visceral experience.

300 may not offer masterful storytelling in a conventional sense, but it's hard to beat as a spectacle and that makes it worthwhile viewing for all but the most squeamish of potential audience members.

If you like kinetic movies about crime, criminals, and all sorts of bad behavior, Running Scared will catch and hold your attention.

With The Butler, director Lee Daniels has managed to "Gump" the Civil Rights movement. That's not necessarily a bad thing but there are times when so many famous cameos threaten to become a distraction, especially since they're only tangentially germane to the main story.

Yet, for all of The Master's laudable elements, it falls short of greatness for one simple reason: the storytelling is unspectacular.

The film is well-paced and expertly edited, allowing scenes to flow naturally into one another.

Although the story is weirdly engaging in its own right, the best parts are the prologue and epilogue.

Gracey’s bracing style, which invites some interesting observations (such as whether sex scenes featuring Williams-as-a-chimp should be considered bestiality), gives the movie an edge that it never loses even after we have gotten used to the substitution.

Cold Pursuit has a strong current of dark humor winding through the proceedings. With a nod or two to Quentin Tarantino, he has fashioned a bizarrely entertaining ode to violence, gangsters, and heavy snowfall in the Rockies.

For those who enjoy their sleuthing on the big screen (even IMAX) with impressively conceived set pieces, evocative performances, gothic twists and turns, and a drizzling of ghostly apparitions, A Haunting in Venice delivers.