James Berardinelli

True Things is solidly made but there’s just not enough substance underlining the characters or their story for it to be memorable.

It’s a fun film that breezes by and, despite any liberties it takes with history, offers a valuable look at Wonder Woman’s real origin story. For adults with curiosity, this makes for an offbeat companion piece to the big-budget blockbuster.

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

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

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

By keeping the tone from becoming too somber and generating a degree of sympathy for Jewell, Eastwood has crafted an engaging (albeit fictionalized) account of the triumph of ordinary men over the establishment.

Heaven's tone is all wrong. The movie tries to be ethereal, but ends up seeming goofy.

Miracle is inspirational and uplifting -- qualities we are as much in need of today as we were during the winter of 1980.

Unfortunately, a little too much pointless running around coupled with the underdevelopment of several key characters results in a movie that's never more than mildly diverting.

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.

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

Although this might have been considered cutting edge 20 or 30 years ago, it has been done so often in recent years that it feels a little tired.

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

The "nature" aspects of Bears are undercut by the need to turn this into a live-action Disney cartoon, complete with cuddly heroes and nasty villains.

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

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

No, it’s not a game-changer like "Deadpool" or "Logan." It remains firmly anchored within the “traditional” comic book milieu. But, with an unwavering devotion to spectacle and action, the film throws down a gauntlet where this kind of mass team-up is concerned.

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.

The effectiveness of the film’s overall aesthetic cannot be understated: what F1 lacks in narrative development it more than compensates for with its thrill-ride aspects. Watching the film, you may not believe you’re in a racing car but you will feel like you’re doing more than passively sitting in a theater seat.

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

It's funny, affecting, and appealing, and more worthy than much of what's out there. Often, coming-of-age stories rely forcefully on formulaic narrative developments but The Way Way Back remains fresh from start to finish.

At times Client 9 feels frustratingly incomplete. Gibney hints at a conspiracy among Spitzer's enemies but is unable to fully substantiate this thesis.

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

The central problem with Rise of the Planet of the Apes is that it feels more like a piece of something larger than a complete motion picture.

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

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.

While the climax does not lack for action, the overall resolution feels flaccid and undercooked.

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

The film’s occasional overreaches aren’t always a negative; the high points are very high and, when it’s all over, most viewers will remember them.

This is a beautifully-shot film, and director Robert Redford (who also provides the voice-over narration) has paid painstaking attention to detail.

There are moments that sparkle, but the whole is not a worthy sum of its parts, and, while much of what Moretti does is interesting, that doesn't mean that it's enjoyable.

With Honeydripper, Sayles has done what he always does: bring together a group of characters and allow us to relish their interaction. His affection for the characters is both obvious and infectious. We like them, warts and all.

Demand for the movie is high and, although it’s not the be-all/end-all of superhero movies, its anarchic and rambunctious approach to the genre results in an entertaining hybrid of comic book action and straightforward satire.

Jamie Foxx, compelled to take the role for personal reasons, turns in what could arguable be the best performance of a varied career. (Others might say that the distinction belongs to his work in Ray.)

The characters are interesting and capture our sympathy and, although there are things to criticize about the final forty-five minutes, it brings the saga to a conclusion. There's a lot to like about The Place Beyond the Pines even if it isn't the feel-good movie of the spring.

Notting Hill does an adequate job, but this isn't one of those landmark romantic comedies that dozens of subsequent movies will seek to emulate.

This is one of the best of the subgenre, an action-packed movie that delivers adrenaline jolts with both barrels while not skimping on character development and wry humor.

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

The Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.

Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.

Not much happens during the course of the movie but, as with all good dramas, the protagonists are richly drawn and the events of their lives become of interest.

At its best, Bon Voyage, Charlie Brown captures the flavor of the beloved comic strip gang but the stew is overcooked and things start to drag after a jaunty first half-hour or so. Overall, this is more for “Peanuts completists” than those looking to get a quick Charlie Brown fix.

In 2025, Superman feels a lot like many of the other superhero movies out there - fun, frisky, and forgettable.

It’s far less engaging than the recent "3:10 to Yuma" remake and concentrates more on the details than the broad picture.

Gruesomely engaging.

Crawl is an old-fashioned B-grade monster movie made with 2019 technology. In short, that means plenty of gore and jump-scares to go along with creatures that no longer look like puppets or men in rubber suits.

The movie is unpolished, unabashedly un-PC, and takes on as many "sacred cows" as it can uncover in a slightly-too-long 105 minutes.

The Italian Job isn't a masterpiece, but it gets the job done.

Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it. Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it.

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

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.

This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.

The movie as a whole is a mixed bag. It's overlong and a times sluggish. The fights and battles, designed to give an epic fantasy feel to the movie, are grave miscalculations.

It’s a painless diversion – no more, no less – that gets an injection of energy from the lead actor’s willingness to not take himself too seriously.

Black Widow represents the MCU looking back when it should be moving forward. Everything about the movie seems small, even the big action set-pieces. No doubt fans – and when discussing Marvel, there are a huge number of those – will be delighted to see the mega-franchise returning to the big screen but it would be a fallacy to consider this anything but a low-tier entry.

At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.

A compelling piece of cinema.

Lovers of drama featuring quirky characters will find things to appreciate.

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 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.

Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.

After the chaos of "Transformers: Revenge of the Fallen," it's refreshing to encounter a science fiction film that respects the intelligence and attention span of an adult.

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

Although it would be an exaggeration to claim that Hanna "has it all," it is a richer and more compelling white-knuckler than the average roller coaster ride into tension and mystery.

There's a wit in Segel's writing that marks him as every bit Apatow's equal in this arena.

sStarts and finishes strong, but, somewhere in the middle, it loses its focus and its way.

There’s an energy here that has been sadly absent from too many recent Hollywood blockbusters. For 2022, The Way of Water may not be the most intricately made or intellectually rigorous motion picture, but it exemplifies what “cinematic” means today.

Frankly, Snow Angels is a downer. This isn't inherently a negative - after all, some of the cinema's most powerful motion pictures are downbeat. However, in this case, there's no emotional force behind all the gloom - just a sense that something's missing.

It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.

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

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

Let's get this straight from the start: Slither isn't great art, but that doesn't mean it isn't good entertainment.

With its carefully-modulated combination of light comedy and drama, the film casts a gentle spell.

One possible misstep along the way is Willem Dafoe’s narration – it’s too wordy for the material and doesn’t quite work. Still, that’s a minor quibble about an otherwise dead-on portrait of a lost soul who may never quite find herself but who makes an uneasy peace with what the world has made of her.

The acting is top-notch. Colin Farrell, who seems to be gravitating increasingly toward smaller films, effectively channels his manic energy. He and Brendan Gleeson display chemistry in the Odd Couple vein, occasionally giving rise to instances of humor. Ralph Fiennes plays one of the most twisted roles of his career.

The story is engaging and McCary provokes an emotional response with his careful and nuanced handling of the main character’s mindset and situation.

Nocturnal Animals employs one of the most inventive uses of neo noir tropes and techniques I have seen in recent years. Intense, insightful, and strangely powerful, Tom Ford’s adaptation of Austin Wright’s novel, Tony and Susan, assumes an intelligent audience.

Nothing in T2 is memorable.

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

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

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.

The real problem with Fahrenheit 9/11 isn't that it attacks the current Republican administration, but that it does so clumsily and with poor focus.

It's not as crisply directed, and the plot holes are easier to find, but Die Hard 2 is filled with the same sense of good-natured, wisecracking fun that infused the original.

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

Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.

With its rapid pace, smart screenplay, and top-notch acting, this is one of the 2007 Oscar season's most appealing and compelling adult motion pictures.

Imperfect, but magical nonetheless.

With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.

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

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 movie doesn't offer enough to make it interesting or even diverting.

An unevenly paced but ultimately winning romantic comedy, Juliet, Naked is the latest success based on a Hornby novel, joining "Brooklyn," "High Fidelity," "About a Boy," and "Fever Pitch."

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

Typically, movies aimed at teenage audiences have little concern for things like intelligent scripts, credible characters, and meaningful dialogue. Better Luck Tomorrow contains all three, making it a hugely rewarding experience.

Darkly effective, and its grip lasts longer than we might be entirely comfortable with.

Compelling and life-affirming.

This is one of the director's mainstream efforts, although his penchant for the offbeat and oddly artistic has not been completely reined in. But there's plenty of unsparing, bone-crunching violence to dismiss the idea that Soderbergh is making an art film in disguise.

This isn’t just another “cancer movie.”

I don’t for a moment believe the film has widespread, mainstream appeal (hence the decision of Disney-owned Searchlight Pictures to bypass theatrical distribution in favor of a Hulu premiere) but for those who enjoy stews that mix warped comedy with twisted horror, it hits the spot.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Annette dares to be different and, at a time when so many movies feel like cookie-cutter representations of better past tellings, there’s more than a little virtue of taking an offbeat and oddball path, even if the detour is too long and has a few too many potholes.

Yes, A Late Quartet is disappointing. But it's also pretty bad.

The Pink Panther is supposed to use humor to uplift. Instead, I departed this movie feeling depressed.

This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

Light entertainment, this is not. Unforgettable and challenging cinema, it is.

The problem with the movie isn't the acting, it's the story, which falls considerably short of the promise of its premise. For a plot about super-intelligent people, the screenplay is surprisingly dumb.

The movie is low-key but each scene is packed with information. Full understanding demands full attention.

Clever and atmospheric, the film has enough twists to keep the average viewer guessing.

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

Simultaneously funny and touching with elements of pathos to go along with the raunchiness. However, The King of Staten Island runs too long and, as result, it loses steam while chugging toward the ending.

Quantumania is the best of the three Ant-Man movies, outshining the previous installment by a good bit and even edging out the first one. It can be amusing when appropriate and serious when necessary and maintains a high level of energy to go along with its eccentricity. For all its epic aspirations, however, it feels slight.

This is a deeply cynical movie and, in that cynicism, it finds truth.

It appears custom-made for a streaming service and will lose nothing from a home viewing. Regardless, with its smart and irreverent screenplay and trio of strong performances, the movie is a winner in whatever circumstances a viewer discovers it.

It’s an arthouse production made with arthouse audiences in mind but I found it to be a more compelling experience than the equally “important” (but entirely too safe) "Radioactive," which played in the same general historical era with less zest.

Most viewers will discover this picture - and it is worth discovering - when it is released on DVD.

It offers a solid two hours of pure, escapist entertainment.

It's a superior thriller made with the guts and gusto that too many recycled entries into the genre fail to exhibit.

Runaway Train belongs to a rare genre: the intelligent thriller.

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

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

As long as you go into Garden State with reasonable expectations, its capacity to disappoint will be limited.

While having a female director perhaps gives Wonder Woman a subtly different perspective, the real strengths of this production are its lead actors, the period piece setting, and an unexpected emotional resonance that one doesn’t expect from a popcorn movie.

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.

Some of the more serious (and non-homicidal) scenes recall "Prelude to a Kiss" (a gender-swapping movie in which Meg Ryan switches bodies with an old man).

Viewers who come for the spectacle will get their money's worth. Furious Seven is all about action, with some scenes being more inventive than others.

Like all B-movies, this one provides moments of visceral satisfaction while ignoring nuance and (at times) logic.

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

This is a feel-good tale through-and-through yet, because of the aesthetic and setting, it doesn’t feel cloying and artificial. And, perhaps most importantly, it earns the modest ending.

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

The plot runs out of steam just past the one-hour mark and the charade, although necessary to the story, goes on for too long. The ending is, of course, the requisite happy one, but it seems a little anticlimactic.

Volume 2 can claim to be bigger and better than its predecessor, although it still suffers from some of the narrative sleight-of-hand issues that kept Guardians of Galaxy from achieving greatness.

Watching The Life of Chuck, I was inspired to remember how wonderful it can be to find a movie that offers the thrill of discovery and the comfort of real emotions. That’s such a rare combination these days and when a film unlocks the secret, it deserves to be seen and lauded for the accomplishment.

Rosewater does not have blockbuster potential but it is more entertaining than one might expect from this material and it leaves an indelible impression about the Iranian justice system - something akin to the inmates running the asylum.

Stranger than Fiction is a wonderful cinematic experience - a welcome way to spend a chilly autumn evening.

Cairo Time is a valentine to Egypt.

This is a simple story of hope and triumph, of one girl with the drive to succeed defying the odds and following her dream. It's not an original tale -- movies like this abound -- but Nava's point-of-view is fresh.

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.

Black Panther: Wakanda Forever is an overlong blockbuster in search of an editor. It’s a series of impressive action sequences without a compelling narrative to connect them. It’s a frustrating example of how financial success, not creative impetus, drives the existence of sequels, and it illustrates how unwieldy, contradictory, and overstuffed the MCU has become.

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

Downfall and Bruno Ganz are deserving of Oscars they will not get.

Zoolander would have been better left as a stand-alone cult classic.

It’s past time to let the dinosaurs take a nice, long vacation. That way, when they come back, maybe we can once again be excited about them. “Excitement” is not something Rebirth delivers with relish or consistency.

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

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

Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void.

The voice work is on-target - the child actors, none of whom have played these parts before and many of whom have limited professional experience, nail their characters. They sound just like we expect them to sound.

Ronin manages to remain focused on the plot and the characters, even while staging increasingly complicated pyrotechnic set pieces and offering its share of white-knuckle moments.

Solid family entertainment, and it's better than 2006's previous tepid animated releases.

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

It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.

Neither as effective nor as ambitious as Kubrick's masterpiece, but it's still a compelling cinematic experience for those who are willing to abandon themselves to the unforced, measured rhythms of an issues-based motion picture.

Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.

It is as comfortable and predictable as any Saturday morning cartoon, although with higher production values and a spiffier look.

This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.

The relentless pace, which flags only occasionally, and entrancing storytelling make this follow-up an even more satisfying experience than the one provided by the 2022 production.

If not for the contrived resolution, this might have been one of the better little thrillers to emerge from the pandemic. Instead, it feels a little disappointing, if only for the unlikely “twist” applied during the closing moments.

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

Cinderella is a wonderfully realized family feature that retains the strengths of its source material while at the same time updating it for today's audiences.

Parts of Ruby Sparks are glowing and gentle. Others are harsh. Still others are wrenching. The transitions are expertly handled, never seeming jarring or inappropriate. If the movie feels like two shorter pieces grafted at the middle, that's an intentional decision. The filmmakers give us something approaching a traditional romantic comedy before deconstructing it.

Although there’s admittedly some perverse entertainment value to be found in this soap-opera derived mystery, the movie never rises to the level of something gripping like "Gone Girl." It’s occasionally fun in a trashy sort of way, but nothing more.

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.

Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.

There’s something enormously refreshing about the openness and honesty found in Keith Behrman’s coming-of-age film, Giant Little Ones.

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

A fair amount of the film, especially Downey's solo sequences, appears to have been improvised, and this lends an air of unpredictability to the proceedings.

It's great fun, but certainly not great art.

Like most sequels, it pacifies its core demographic by offering “more of the same.” To that extent, it can be said to be successful.

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

World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."

Because Wonder wants to attract viewers of all ages and seeks to provide a “positive” experience, it glosses over the darker aspects that a story of this sort should address. In doing so, it at times feels dishonest and the Pollyanna-ish ending borders on cloying.

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

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

A firecracker of a story - sharply written, superbly acted, and fast-paced.

A compulsively watchable thriller that represents a calling card for the Ramsay brothers for the movie industry.

The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.

Has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.

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

The marriage of these two tales, however, should have ended in divorce court.

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

Age of Ultron disappoints not because it's irredeemably bad but because it fails to achieve the level of its predecessor in nearly every facet.

Captain America falls into the prevalent pitfalls of origin stories. So much time and effort is expended explaining how the protagonist gains his super-powers (and exploring his initial usage of them) that there's not enough opportunity to develop a compelling storyline beyond his "baptism."

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

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

Missing works well enough as a popcorn flick that doesn’t demand much in the way of concentration. That makes it a solid throw-way that offers a couple hours of forgettable entertainment.

Despite the weak dialogue, there are still some laughs to be had. At the end of this long journey, we're rooting for Harry and Erica to be together. For the movie to get us to that point, regardless of its motives and methods, it can't be all bad.

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.

The limp climax doesn't undo the solid humor, wicked social commentary, and delicious satire that precedes it, but it leaves an unpleasant aftertaste. In the end, Mean Girls isn't mean enough.

Everything in G.I. Joe: Retaliation is perfunctory - technically proficient but soulless. It's not exciting. It's boring.

All-in-all, the intelligence of the approach combined with good old-fashioned zombie blood-and-gore (as opposed to the slicker, sicker torture porn variety) makes this not only the most satisfying motion picture Romero has made in a long while, but one of the best of his career.

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.

Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.

May be the best family movie of the 2002 summer film-going season. There's a simple reason for this - the picture seems to have been put together with the recognition that some members of the audience may be above the age of ten.

A compelling motion picture that illustrates an American tragedy and shows the transformation of a decent family man into someone whose struggles with addiction and association with the wrong man bring him to an untimely end, with no hope of retribution.

Dead Again does not come across as a Hitchcock knock-off, but as a motion picture that incorporates familiar themes and approaches while maintaining its own integrity and identity. Not once during the entire production is there an obviously stolen scene or camera angle replication.

By playing things too safe, it loses the power and spontaneity that gave Creed its energy and drive.

When it doesn’t work, it’s because it tries too hard to provoke laughter with clichéd jokes and subpar physical comedy.

The scenario explored by Ben is Back starts out strongly but, with writer/director Peter Hedges unwilling to remain firmly rooted within the hard, mundane rhythms of a family drama, it loses focus and borders on the preposterous as it races toward an improbable climax.

Tennant takes this familiar material and crafts a charming, captivating motion picture.

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.

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

While parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.

In trying to blend a Twilight Zone-ish mystery with a more conventional approach to sorrow and death, Miele crafts a story that is too artificial to work.

Anderson’s performance is the selling point but one can rightly question whether it’s enough to bolster the malnourished narrative.

Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.

Sasquatch Sunset is sufficiently different that it’s almost worth seeing for that reason alone. Alas, I don’t think it sufficiently rises above the gimmick of its premise to provide a compelling reason to spend 90 minutes in a movie theater.

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

On balance, one could argue that Seven Psychopaths warrants a better rating than a mediocre **1/2, but the aftertaste is so bitter that it diminishes the sweetness that started off the meal.

The movie works in large part because of the depth of Steinfeld’s performance. We haven’t seen such a well-realized character in any of the other Transformers movies.

Not a typical Disney family film -- thank god. Charming and thought-provoking, this is the kind of movie with the sweetness necessary to appeal to younger (although not too young) viewers and the philosophical richness to draw in veteran movie-goers.

Gut-wrenching, brutal, and powerful, American Me is not enjoyable in the conventional sense, but nevertheless stands out as one of the year's most impressive purely dramatic offerings.

Although McHale’s theories are interesting to listen to, there’s a smoke-and-mirrors quality to them. One thing is certain, however: You Don’t Nomi is a much better motion picture than the movie it profiles.

The Midwife has two things going for it: Catherine Frot and Catherine Deneuve. There’s no disputing the quality of acting in this film, at least insofar as the leads are concerned. Unfortunately, almost everything else in Martin Provost’s staid character study falls considerably short of the bar set by the two Catherines.

Q & A is testimony to the validity of the old adage: a good story, when well told, can never be told too many times.

To the extent that The Trigger Effect is intended as a tense, somewhat nerve-wracking thriller, it's adequate, and certainly better than the formula-driven likes of The Hand that Rocks the Cradle.

With Steven Soderbergh at the helm, this has become a whimsical, semi-comedic romp, complete with a score by Marvin Hamlisch that recalls kitschy '70s TV shows, cutesy captions, and a tongue-and-cheek approach to the entire story.

Director Guillermo del Toro’s unique visual style is on display but the story is predictable, the characters are flat, and the supernatural elements are red herrings. To paraphrase a character, this isn’t so much a ghost story as it is a “story with ghosts.”

Cyrano is a disappointment. The set design and camera work are first rate, as are the performances of Dinklage and Bennett. It causes one to wonder whether, had the songs been excised in favor a straightforward telling, Cyrano might have played better. As it is, however, it’s merely a handsome looking period piece with too many mediocre songs and a major downer of an ending. Not exactly a great way to ring in a new year.

As a means of non-participatory time travel and non-intellectual stimulation, it's successful. Toe-tapping and eye-rolling are equally forgivable. Rock on.

Contrasting The BFG to "E.T." does the new film a disservice, and it’s mediocre enough that it doesn’t need the comparison to emphasize its shortcomings. In recent years, Spielberg has become a hit-and-miss filmmaker and this is closer to a “miss” than a “hit.”

Superficiality is The Kid Who Would Be King’s greatest weakness. It skims along the surface, always taking the obvious path, never courting interesting possibilities, and trumpeting trite messages about friendship, truth, and belief in self.

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

There’s an inevitability about The Danish Girl being well received by critics and at awards ceremonies. This is, after all, a movie with a strong social message about tolerance and inclusivity. Dramatically, however, it’s a mixed bag.

It maintains its cheekiness while poking fun at the overused concept of redemption. Most importantly, it stays funny up to the beginning of the end credits, and maybe a little beyond.

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

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

The only reason any male could have for seeing The Vow is the hope of getting laid afterwards. The only reason any female could have for seeing The Vow is if she views the plots of Harlequin romance novels as the height of modern storytelling.

There's plenty going on but never any real magic.

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

Its unique take on a common subject lends freshness to the familiar and provides a worthy motivation for seeing this.

Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

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

This is an offering for mature viewers thrown out amidst a sea of summer flotsam. The title, Elegy, is perfect for the material. There is much tragedy and truth in what the makers of this movie have brought to the screen.

Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.

Director/co-writer Gillian Robespierre is nowhere near as self-indulgent as Noah Baumbach but she’s aiming for the same audience.

There's less whimsy to be found here than in "The Princess Bride," but the film is likely to appeal to the same group of older children and adults that appreciated Rob Reiner's classic.

You laugh a few times but, in the end, you wonder why you bothered.

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

My advice is to wait and see this version of The Beverly Hillbillies the same way that you've seen all that's gone before -- on the small screen. And let's hope that when the closing song chimes in with the familiar "Y'all come back now, hear?", it's not a reference to a sequel.

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

The movie isn’t for those who crave light, uplifting entertainment. Instead, it’s for those who want a precise, visceral experience from a motion picture.

Strange Days is a thriller first and a mystery second. It's big, explosive entertainment and, although not directed by Cameron, is very much in the vein we've come to expect from him. Strange Days may not be the best movie to hit screens during the Fall, but it's likely to be the brashest.

The movie is entertaining on a superficial level, but there's little beneath the surface.

Carlito's Way probably should have been a taut thriller, but choices by DePalma in both presentation and editing have hamstrung it.

The Edge comes across as a parody/adventure without a clear sense of identity.

While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.

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 movie makes a variety of changes to Jeffrey’s story to make it more cinematic, but without the kind of narrative reworking needed to streamline the material, the result feels unfocused and shapeless.

This is a film for anyone who prefers to leave the theater smiling.

Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs.

The best superhero movie since "The Dark Knight" (and far less serious in tone or approach), Kick-Ass earns its name in every way.

Not only was I touched by the characters and engrossed by their story during the 120 minutes they were on screen, but I could have easily spent another hour or two with them.

As much heralded, "edgy" movies go, Transamerica fails to live up to expectations.

The story is timely and powerful, and the performances of Hanks and Washington assure that the characters will not immediately vanish into obscurity.

An engagingly lighthearted rags-to-riches romp with a David vs. Goliath element, the movie uses its real-life basis to formulate a modern day fairy tale.

Visually, The Good Dinosaur boasts some of the most amazingly photo-realistic sets I have seen in any animated film.

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

Master is something of a mixed bag but and, for those hoping to find the next Get Out, the search must go on.

There are things to like about the second Hobbit film - the director's vision of Middle Earth is as beguiling as ever - but the bloating that was a problem with An Unexpected Journey is an even bigger issue here.

Despite all its flaws, Challengers represents watchable high-end soap opera material. The story is undercooked but the dialogue contains some nice zingers and the actors are wholly invested.

For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.

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

This one delivers.

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.

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

Splice is as much a psychological thriller and drama about bio-ethics as it is a horror movie. Like the vastly superior "The Fly," it uses gore sparingly; delivering shocks to the audience is a secondary consideration.

Has once again caught lightning in a bottle and unleashed it on audiences, blending humor, adventure, and a lot of nifty special effects-enabled gadgets and creatures into a movie that provides 1 1/2 hours of unfettered entertainment for children, grandparents, and everyone in between.

Beautifully filmed and emotionally on-target when confined to 1924, Mothering Sunday loses its way once unmoored in time and left adrift on the currents of the years to come.

More likely to end up on the snow pile of forgettable Christmas-themed movies than in the vault of memorable ones.

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

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 battles and a climactic action sequence are well filmed but Kingdom isn’t trying to outdo the other summer films when it comes to edge-of-the-seat viewing. In a strange way, I find that refreshing.

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

Fantastic Beasts is an enjoyable stand-alone but its position as the progenitor of a new franchise remains unclear.

Compared to Deadpool, "Guardians of the Galaxy" is a bastion of sobriety and good taste.

There's no fun to be had here and if an action movie doesn't make the grade as escapist entertainment, what's the point?

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

Anyone approaching it today will find it horribly dated, badly produced, and filled with uninspired musical numbers and over-the-top performances. This is the kind of movie that turns off children of today's generation from titles made during the early talkie era.

Maybe it's foolish to be disappointed by a pure popcorn movie, but as I walked out of this film, I felt it had failed in its mission of pure entertainment.

With respect to Martin Guerre, Sommersby can genuinely be viewed as an homage -- the spirit of the original remains intact, which is perhaps the most satisfying aspect of this production.

At long last, someone has crafted a worthwhile superhero spoof.

Mrs. Parker and the Vicious Circle is a top-notch movie. Everything is in place -- a striking lead performance, solid supporting players, a well-written script, and, above all, expert direction to merge the ingredients.

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

Despite narrative issues, the film is overall affecting and effective with Ben Affleck’s powerful performance being a driving force.

Although unintentional, Puzzle is what its name implies. Despite an Oscar-caliber performance from Kelly Macdonald, the film is hampered by sluggish pacing and a sterile mood that sucks the life out of various emotionally-charged situations.

This isn’t "Miami Vice." In fact, the intent (perhaps intentional) is for the gritty, noir-tinged The Infiltrator to tilt in the opposite direction.

Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.

Mary Poppins Returns is an imperfect sequel but as a throw-away holiday film designed to provide a family viewing experience, it satisfies a need.

While there is some appeal in exploring how these characters might navigate the Depression and the approach of the Second World War, such arcs could never be properly developed within the confines of a feature film. The Grand Finale should be what its title promises: an elegant farewell.

While a majority of the movie is a rambunctious road trip with a few call-outs to Studio Ghibli (Michael Rooker’s Lutador the giant python would likely earn a smile from Miyazaki), there’s heart in the evolving relationship between Gabi and Vivo and a solid emotional payoff at the end.

Star Trek VI is an improvement over its immediate predecessor, but it lacks the energy and thrills supplied by some of the lower-numbered sequels. The original crew of the Enterprise is apparently fated to fade away rather than going out in a proverbial "blaze of glory."

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

One problem is that none of the characters are interesting and the situation is clichéd.

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

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

According to Schnabel, the movie is intended to celebrate the man's life, not to mourn his death, so Basquiat's last days are not shown. It's one of many miscalculations made by the director, because, when the end credits roll, we're left without a sense of closure.