James Berardinelli

The R, however, isn’t for the usual “extreme gore” of a slasher movie. Instead, it’s mainly for profanity. Get Out has only a little blood and viscera; the approach of writer/first time director Jordan Peele is to approach the more stomach-churning aspects of his production with tact.

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

Put together on a miniscule budget, the film has all the power, drama, and tension of a big-budget Hollywood thriller.

Crocodile Dundee is a breezy, fun affair - a trifle that is extremely pleasant to sample and leaves no bitter aftertaste.

Like the little-seen 2004 mockumentary, "Confederate States of America," Sorry to Bother You blends conventional comedy with political satire to produce a film that will generate laughter and a sense of discomfort in equal doses.

Brassed Off! is a traditional feel-good motion picture with an element of social commentary thrown in for good measure.

Man of Steel is, first and foremost, a great spectacle.

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.

The special effects budget is on the high side but those effects serve the story rather than the other way around, and Paul is all the better for it.

Imagine my surprise when I discovered that not only is Life funny (and at times downright hilarious), but it also offers a light portion of sweetened social commentary and a sometime-affecting buddy element.

The result may peter out on the way to an anticlimactic conclusion but it’s fun while it lasts and at least one of the three peerless female leads should get some kind of Oscar recognition. (My bet is on Colman.)

Despite its uneven tone, the film is compelling and, perhaps more importantly, relevant even though the actual historical events occurred two decades ago.

Many years ago, an acquaintance of mine said “Who needs good art when you’ve got great trash” and that applies here. Although I would stop short of calling this a “gem,” it is at times creepily effective, at least during its first three-fourths. As the film approaches its climax, it loses some of its uniqueness but there’s plenty to like about it before it starts to feel overly familiar.

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

Linklater has crafted an entertaining motion picture.

The story is simple, as befits a movie that's more about visual flash, technical bravura, and ideas than plot and character development. TRON turns into an action-oriented endeavor, with characters attempting to make their way through the video game inspired landscape of the mainframe to the goal that will achieve victory.

Blank uses humor to make her points and they are all-the-more memorable as a result.

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.

As family films go, this one offers an engaging and exciting 90 minutes.

There's enough compelling drama here to overcome elements of artifice. Men, Women & Children feels meaningful although perhaps not profound.

Oppenheimer is an indication that Nolan refuses to be pigeonholed as a director. While there’s something to be admired about that, this isn’t a home run. Still, many of the flaws are more than compensated for by the flashes of brilliance and the strength of the central character’s presentation.

It does what all good coming of age movies do, and that makes it a worthy and welcome entry into the genre.

A touching, well-made motion picture whose only real flaw lies in the overfamiliar storyline.

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

The movie demands a willing suspension of disbelief and, for those who can accommodate, it opens a portal into a hellish, allegorical nightmare about the placid myth of suburbia gone wrong.

In the final analysis, the movie doesn't offer much about the subject that hasn't been previously explored, but the soil is fertile and many ideas germinate.

Horror/comedies often tread too far to one side or the other of that fine line; Tremors walks it like a tightrope.

Shooter does what any good thriller should accomplish - it thrills. It's fast-paced, energetic, and doesn't follow a path that seems pre-ordained from the beginning.

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

May be flawed, but it's not easily forgotten.

They center on the devilishly clever, exceedingly enjoyable interludes featuring the aforementioned rodent in situations and circumstances that recall the great animated work of the recently departed Chuck Jones.

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

Undemanding, light, and enjoyable.

Like a well-made romantic comedy that follows all the rules, Kodachrome engages because the dialogue pops and the actors are sufficiently invested that they give breadth and depth to characters who are, for the most part, underwritten.

Despite following its stage inspiration and bringing structure to Fellini's "8 1/2" (the ultimate source material), Nine still suffers at times from a lack of narrative drive and it doesn't have the surreal, dreamlike quality of "8 1/2" to fall back upon.

Those looking for a clear-cut chronology of how the murders happened are destined for disappointment. Flashbacks of the crime are short and ambiguous.

This movie is no masterpiece, but it is an electric, colorful production that roasts the media and those obsessed by it over an open flame.

Despite having a slim resume (the quirky indie Safety Not Guaranteed), Trevorrow handles Jurassic World like a pro. He hits all the right notes, giving the two-dimensional characters as much heft as they deserve (which isn't much) and handling the action sequences like a seasoned veteran of Hollywood tent pole features.

What really matters in this film are the lead characters - Resler and Russell - who are interesting enough to warrant such a cinematic endeavor. The upbeat film touches on serious issues without becoming lugubrious.

After a few missteps and/or odd choices for the director (including Dumbo and Dark Shadows), Beetlejuice Beetlejuice puts Burton back in familiar territory and, surrounded by past collaborators and a sense of nostalgia, he thrives.

Those wacky Coens are at it again. And those serious Coens. And those loquacious Coens. The Ballad of Buster Scruggs, a paean to pre-revisionist Westerns, allows the Oscar-winning brothers to try out nearly every weapon in their considerable arsenal.

The lack of explosions and gunfire makes this an atypical summer thriller, but its breezy brand of unforced and occasionally self-referential entertainment is a lot more fun than pirates, webslingers, and green ogres.

The Help's most apparent flaw is a tendency to paint with broad strokes. With only a few exceptions, it avoids shades of gray.

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

Nerve does a better job with its style and pacing than it does with its characters but, ultimately, Vee is likable enough for us to stay on the ride with her. For a late-summer throwaway, the film is surprisingly entertaining.

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

I am by nature a cynic and am easily turned off by manufactured sentiment. I dislike "Terms of Endearment" intensely. That I was fully immersed in this world and invested in the characters’ lives is a testament to the movie’s strength.

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

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

If you like romantic movies but find Hollywood's increasingly sterile formulas to be a poisonous bore, Love Me if You Dare offers an antidote.

Measure of a Man, the sophomore feature effort from British director Jim Loach (the son of the famed filmmaker Ken Loach), effectively captures this difficult-to-pin-down feeling with a largely unsentimental coming-of-age story based on Robert Lipsyte’s novel, “One Fat Summer.”

Although guilty of soft-peddling some harrowing aspects of the experience to achieve the teen-friendly PG-13 rating, Adrift nevertheless gives a flavor of the existential experience inherent in this situation by illustrating that surviving a shipwreck is as much about mental strength as physical endurance and stamina.

Starts slowly, but builds to a satisfying conclusion.

Hitch is 2005's lone legitimate contender for a Valentine's Day movie date.

Despite the cries of "sacrilege" by some Blues Brothers and Saturday Night Live (where the Belushi/Aykroyd act started) die-hards, Blues Brothers 2000 represents a respectable follow-up to a uniquely American classic.

There is sadness and humor here, but all understated.

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

Taylor's approach to this material -- mixing occasional humor with undemanding drama -- works well enough that we don't care about the logical inconsistencies and plot holes. To that end, The Emperor's New Clothes ends up as a pleasant diversion.

Romantic comedies can be like road trip movies in that the journey is often more enjoyable than the inevitable destination. It helps the fantasy when the actors relate to each other in a pleasant, believable fashion. In this case, Kyle Allen and Kathryn Newton interact with sufficient amity to hold our interest, although Newton shines more brightly than Allen.

Overall, the film is smart and engaging, and if it plays a little on our fears of the next big terrorist attack, it does so without feeling exploitative.

Male coming-of-age stories are a dime-a-dozen, but the same cannot be said for the female equivalent, especially when the story is told with intelligence and sensitivity. This makes Ruby in Paradise a rare and welcome change of pace.

In many ways, The Forgiven feels like a CliffsNotes version of a longer, more complex narrative. But, even considering that numerous subplots might benefit from a mini-series approach to the material, the transformation of the central character is handled in a powerful, credible manner.

May not be an absolute triumph, but it's significantly better than just a good effort.

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

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

Although it runs too long, it’s nevertheless an enjoyable and satisfying romp through the lives of one woman who makes “being the worst of her selves” an asset.

The film is intricately composed using the shadows created by natural lighting and some of the most astonishing sunsets and landscapes ever captured on screen. Pope's work is immersive and allows viewers to become engaged in a story that occasionally moves a little too slowly.

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

Despite its flaws, the movie is compulsively watchable, and few will be bored by it. It's a charming movie that falls short of greatness, but is still worth a solid recommendation.

Best of all, it proves that there are still directors cut from the John Waters mold who aren't content just to push the envelope -- they rip right through it.

BlacKkKlansman comes across as equally entertaining and disturbing, which is most likely what Lee intended.

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

Director John Dahl has fun with this material, filming the modern-day noir potboiler with such gusto that it's impossible not to fall under its spell.

Sound of Metal tells a story about coping and overcoming while avoiding the narrative pitfall of artifice.

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.

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

Those who attend this movie expecting to see a superhero smack-down won’t be disappointed, but anyone partial to Captain America’s saga may feel shortchanged.

Although the 1940 landmark may work better as pure family fare, this slightly more mature film (which is by no means child-unfriendly) is artistically and narratively superior.

In this case, character development is neglected in favor of awe-inspiring views. There are times when we feel like we're on the mountain. Unfortunately, our companions - the men and women populating the screen - are never more than half-formed.

Moody, introspective, and meditative, Nomadland makes up for its meandering, sometimes maddeningly slow pace with its insights about human nature and its incisive portrait of indomitability.

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

The Mission is beautiful to look at, features impeccable period and setting detail, and offers a fascinating and tragic backstory, but it falls short in many simple human qualities. Overall, it's an impressive motion picture, but lacks the epic greatness sometimes associated with it.

The Man Without a Past is a modern fairy tale. It certainly is divorced from reality. Despite this -– or perhaps because of it -– it's a satisfying motion picture.

This isn’t a hard-edged or particularly nasty film. Its political satire is even-keeled, attacking the system as an entity rather than either party in particular.

While Palm Springs doesn’t stray too far from the idea introduced by "Groundhog Day," it’s the first derivative film to be more deserving of a commendation than derision. Or, to put another way, it feels more like an homage than a rip-off.

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

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

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

This is a funny movie. It delivers plenty of laughs, but it isn't in the same league as "Clerks." I left that movie holding my stomach from laughing so hard.

Mank may be Fincher’s most technically challenging production to-date but it suffers from what some might consider to be the director’s Achilles heel: his laser-focus on perfection results in a tepid emotional temperature. It’s hard to feel much of anything for (or about) any of the characters, even the title one.

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

Clockwatchers offers a perspective of the American corporate office that is both viciously satirical and depressingly accurate.

The movie is at its best when the audience is in the dark and, because our perspective is June's and she doesn't know what the hell is going on until well into the proceedings, that's when things are the most entertaining.

Disconnect is by turns frustrating and fascinating.

For the briefest of moments, someone not paying attention might mistake Lantana for a mystery. -- Lantana is actually an examination of human interaction.

The way Levine has structured Black Bear turns the possible interconnections between the stories into a puzzle for which there is no ironclad solution. That’s part of the fun – speculating what it all means. For those who prefer a more passive experience, Black Bear offers a dollop of frustration but, for those willing to brush aside the web-like strands entwining the first story with the second, it’s an engaging double-feature.

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

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

Godzilla Minus One isn’t just a good Godzilla movie. It’s an excellent Godzilla movie – arguably among the best ever to grace the screen.

Turns out to be the funniest hard-R comedy since "The Hangover."

It rewards patience not only in the way it crafts its central character but develops the era in which it transpires.

Unlike last year's disastrous "Pinocchio" with Roberto Benigni, this movie proves worth the time, effort, and money to get the whole family to a theater.

As Nina, Aniston not only displays a surprising capacity for both comedy and drama, but she shines with the kind of star quality that only a handful of current performers exhibit.

Free Fire isn’t a “Reservoir Dogs for the 2010s” but there are enough similarities in approach, tone, and style to warrant a comparison. The violence, the cavalcade or profanity, the testosterone & adrenaline – they’re all present and accounted for.

With its underworld violence and straightforward narrative, Shanghai Triad may be Zhang's most accessible film to date. It is not, however, his best work, having neither the epic scope of To Live nor the quiet emotional power of Raise the Red Lantern. Yet there is still much to like about Shanghai Triad, not the least of which is the production's gorgeous look (credit the director and his cinematographer, Li Xiao). Shanghai Triad overflows with memorable imagery and atmosphere. And, as this film verifies, a weak entry by Zhang is often far more engrossing than a strong entry by many other directors.

Viewers will discover that the film has something to offer nearly everyone, whether they are a novice or a black belt in kung fu cinema.

Co-writers Phil Lord & Christopher Miller bring their trademarked unconventional approach to the story and that helps the movie stand-out in what is quickly becoming a wasteland of superhero sameness. But it’s tough to call Across the Spider-Verse “great” without seeing whether the final chapter sticks the landing or falls on its sword.

It's a solid, entertaining monster movie that, at its best, recalls not only its three decades-old namesake but Alien as well.

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

Likely to bring a smile to your lips and a bounce to your step.

A lively, workmanlike musical that only occasionally rises to the heights of its 1991 predecessor and frequently coasts on a lower plane.

Ball may not have the answers but he eloquently and forcefully explores some of the potential ramifications. The ending may be too pat, but the journey to get there - bitter, spicy, and poignant - more than compensates for any last-minute fumbles.

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

Despite being rooted firmly in "chick flick" territory (with a high "cuteness" index), it has the capacity to please to viewers of both genders who appreciate the genre.

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

It's funny as hell at times with a twisted sense of humor that one typically expects from the likes of the Coen Brothers and Quentin Tarantino.

The underwater sequences, which are choreographed and directed with great skill, are Thunderball's standout feature... Thunderball is classic 007 -- not the best picture in the long-running series, to be sure, but a more-than-worthwhile diversion for the action-loving escapist in us all.

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

Music and Lyrics is frequently appealing, often witty, and occasionally funny, but it's not going to convert skeptics and cynics into sentimentalists.

I would classify Charlie Bartlett as a smart teen film. It's more ambitious and overall more successful than its '80s forebears even though the resemblance is unmistakable.

Like "Raging Bull", Foxcatcher is a dark drama masquerading as a sports movie.

Not an indictment of the Catholic Church as a whole, but a thought-provoking look at what can happen when decent individuals are seduced by the power of their position.

With its lack of pretensions, Miss Potter is that rare breed of cinematic animal: a movie whose entire goal is to entertain and perhaps apply a gentle touch to the heart.

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

Of the two timelines, the one featuring the teenage Diana is more involving than the one featuring the adult version. Both lead actresses give fine performances, but Thurman has less material to work with.

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.

For the most part, Walkabout is an involving, occasionally hypnotic, motion picture. Some of the photography, including images of the outback and its denizens, is spectacular.

Visually interesting but offers nothing groundbreaking. The animation is competent but not overwhelming. There's no moment of wonderment.

Despicable Me 2 provides a good bonding opportunity for parents and children with enough palatable elements to please members of both generations.

Downton Abbey is for those who loved the TV series and were sorry to see it go, and there’s nothing wrong with a little fan service for Masterpiece Theater watchers in a day and age when every Marvel film wallows in it.

Tone is critical to a movie of this nature, and Fleischer gets it right.

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

Brooks' take on the ups and downs of modern romance and the unexpected turns it takes is smart, funny, and (above all) uncommon. It's not hard to recommend this on Valentine's Day or at any other time.

Téchiné's development of Alex and Marie is masterful; Auteuil and Deneuve keep our attention riveted to the screen whenever they're on. And, while the director doesn't succeed in plumbing the emotional depths reached by Ma Saison Préferée, there are elements of Thieves that touch us nearly as forcefully -- those moments just aren't as plentiful.

Manages to remain witty throughout.

Fascinating, garish, and compelling even with an overlong 130-odd minute running time, Benedetta dabbles in some of Verhoeven’s career-long weaknesses while highlighting a great many of his strengths.

Director Jon Favreau keeps the tone light but, aside from the occasional low-key gag or one-liner, the humor is never allowed to upstage the more serious elements.

Not everything in The Wackness works and there are times when the divergent serious/comedic tones clash instead of complementing each other. However, in spite of its flaws, the production gets us to care about the characters and their situations.

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

The film's structure is a little awkward, almost certainly as a result of its being expanded from 20 minutes to 97.

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.

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

There's something old-fashioned about Everlasting Moments. Although the shots are beautifully composed, they are classically represented. Both the filmmaking methods and the storytelling are uncomplicated.

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.

There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.

The humor - and there's enough of it that Tabloid could be categorized as a comedy - is unforced, arising as it does out of these truth-is-stranger-than-fiction circumstances.

It’s a perfectly enjoyable piece of movie-making and a treasure for those who want a better understanding of how old TV shows were made.

Lucy is what a superhero movie might look like if developed by Spike Jonze and/or Michael Gondry.

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

X is a reminder that, while the slasher genre had some very deep valleys, some of the most effective horror emerged from it (especially in the early days before the films became little more than orgies of inventive eviscerations). With X, West seeks to recapture some of the fun, edginess, and energy of those productions while at the same time delivering a few surprises.

Crooklyn comes to the screen with an upbeat tone and a lot of heart. Beneath the surface of this deceptively simple motion picture lurks a keen insight.

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.

It’s a small gem that deserves to be discovered.

The humor avoids becoming too outrageous. This is like an indie version of Olivia Wilde’s "Booksmart," which was filmed after Banana Split despite being released earlier. Both films offer complex perspectives of high school-oriented female friendships without demanding a happy ending for the happy ending.

Where the Crawdads Sing is not without flaws but it draws the viewer into its specific time and place and offers an engaging two-hour escape into the life of a memorable individual.

With its idea of an insurgency striking against an implacable evil empire, there's more than a little "Star Wars" in Terminator: Savlation, although not even at its "Empire Strikes Back" bleakest was Lucas' series this dark.

The transformation undergone by Michelle Williams to play this role is nothing short of astounding.

Spielberg has invested massive creative capital into Ready Player One and the resulting production has all the ingredients viewers expect from potential blockbusters. Whether it achieves the level experienced by Spielberg’s biggest successes remains to be seen, but it is without a question one of the year’s most energetic, visually rewarding, and ultimately exhausting motion pictures.

The Truth is layered and offers a treat for those who savor acting on the highest level, but it is a step down from his best films and may hold its strongest appeal for those who label themselves cineastes and art house movie-lovers.

Take away the spectacle aspect and the movie may seem repetitive and underwritten. In a premium movie house, however, the immersion is so complete that viewers may require a short recovery period once it’s all over.

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

It’s the best performance of McCarthy’s career, topping the one she gave in "St. Vincent."

There are a few occasions when Antwone Fisher crosses the line to become too syrupy -- For the most part, however, the production radiates emotional honesty.

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

Without question, Extraction is the best action-oriented film released during the first third of 2020. One could argue that such a statement is damning with faint praise.

Focus is uncommonly good for a February release (damning with faint praise?) but may not clear the bar of being worthy of a trip through snow and ice to reach the multiplex. Star power, actor chemistry, and caper movie twists make for a nice diversion… but not much more.

Although there is violence and danger, this is less about the chase than it is about the relationship between the siblings.

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

Gorgeous photography and strong acting keep the formula from becoming stale. For those who don't mind pictures that fall into predictable rhythms, A Good Year represents a pleasant diversion.

Loving is an important and interesting motion picture but it’s not always as involving as it might have been.

Rust Creek, an uneven but ultimately satisfying thriller from indie director Jen McGowan, seamlessly blends horror and thriller elements across its 108-minute running time.

Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.

Gripping and compelling, and doesn't make us wish we had checked our brains at the theater entrance.

As a means to finally bring the Fantastic Four into the MCU, First Steps is as successful in its own way as Spider-Man: Homecoming was. In addition to representing an apology for the previous big-screen botching of Galactus, the film puts all the foundational pieces into place.

Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.

The film’s predictability is offset by what Hart and Cranston bring to the proceedings.

Freedom Writers delivers the expected messages about hope and the ability to change one's destiny, and does it in a manner that it is emotionally and intellectually satisfying.

Obvious technical considerations aside, it holds up surprisingly well after so many years and is not hard to recommend for anyone with an interest in film history and World War I.

Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.

Dustin Hoffman and Emma Thompson bring credibility to Last Chance Harvey merely by their presence. The result is a holiday parfait.

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

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

Mary Shelley's Frankenstein may not be the definitive version of the 1817 novel, and the director likely attempted more than is practical for a two-hour film, but overambition is preferable to the alternative, especially if it results - as in this case - in something more substantial than Hollywood's typical, fitfully entertaining fluff.

The teaser scene is phenomenal. It depicts the escalating tensions that accompany being one of the men in the final chain that leads to a nuclear launch. In this case, it's just a drill, but the men (played by Michael Madsen and John Spencer) don't know that. They must confront the morality of obeying an order that could lead to a worldwide holocaust. It's a taut scene that is suffused with verisimilitude.

This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.

The movie is deliciously creepy even if it does exhibit some issues that keep it from being a top-notch example of "things that go bump in the night" horror.

The film is worthwhile primarily for the fun, breezy first hour. After that, it's a case of watching to find out how things turn out.

Attempts to inject a little humor via the antics of the dwarves don't work, especially since one of the little people is killed early in the proceedings. No one's going to be singing "Hi ho! Hi ho! It's off to work we go!" after that happens.

There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.

Christian Bale continues to amaze with his ability and range.

My sense is that, while The Best of Enemies may be met by stinging criticism from the far left and far right (for different reasons), those with centrist leanings will appreciate it for what it is (as opposed to for what it isn’t).

With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.

The book is richer, but this is a solid, endearing telling of the same essential story, and is well worth the price of admission for those who appreciate romantic fantasy.

The result, although uneven, is generally enjoyable, especially for those who attend with the right mindset. Character and narrative are secondary concerns for a movie primarily driven to provide a Valentine to '60s rock-and-roll.

It's an entertaining diversion - a good way to pass a couple of hours as late summer evenings lengthen - but not much more.

Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.

There's little in the basic narrative to grasp and hold the viewer's attention, but the way the lines are delivered and the charisma of the performers lend charm and substance to the overall viewing experience.

This is what serious horror is like and it’s not for everyone.

It's hard to deny that Brüno succeeds in being both outrageous and outrageously funny, and it's hard to damn a comedy, regardless of its faults, for those qualities.

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.

The Quiet Man showcases [Wayne] as the leading man in an old fashioned romantic drama. Cast against type, Wayne pulls it off with aplomb, largely because his tremendous screen presence allows him to get away with gaffes that would sink other actors.

Despite its flaws, White is an excellent character study, and the presentation of a twisted love story is compelling.

The Loss of Sexual Innocence is not a masterpiece (at times, its obtuseness can seem ponderous and pretentious), it is nevertheless a fascinating experience, with the focus being on the artistic elements inherent in the medium rather than on the narrative.

Of the five movies in the Despicable Me/Minions cycle, The Rise of Gru is the second-best, following the debut installment. The series has long since given up finding new avenues to explore (the way the first one and, to a degree, the second one, did), relying instead of regurgitating ideas and comedic bits. It’s almost surprising, therefore, how effectively it works.

Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.

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

The movie works because so much of what's on screen will resonate with viewers.

Woman in Gold is arguably of more interest for its historical perspective than for its drama. Although there is some suspense in the courtroom proceedings, no one would mistake this for the next "To Kill a Mockingbird" or "The Verdict."

Bernard and Huey is a small pleasure; it’s almost always welcome to watch a character-based film crafted without pretentions.

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

There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.

Regardless, though it may be occasionally slow-moving and perhaps a half-hour too long, this film is put together with care and a mindfulness of quality.

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

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

The Theory of Flight is far from a perfect movie, but it offers enough highlights that, on balance, it's worth a recommendation. The solid acting camouflages a great many other deficiencies.

In the wasteland of August releases, this entry shines like a beacon lighting the way to a theater.

Talk to Me isn’t for the faint of heart. It isn’t for those who believe horror movies can easily be shaken off. And it isn’t for those who aren’t willing to pay attention and allow the film’s unsettling aesthetic to seep into one’s bones.

Unfortunately, the film's final third is poorly focused and, while there is a clear conclusion, it feels strangely hollow.

Despite some sluggish narrative passages and tonal inconsistencies, this represents one of the most exuberant and energetic productions to arrive in the post-pandemic era and its mixture of feel-good elements and real-world concerns is a welcome change from horror movies and action mayhem.

A viscerally effective, fast paced thriller.

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

For roughly two-thirds of its 100-minute running length, Barbarian is a top-notch excursion into the dark, twisty tunnels and catacombs of a mystery-cum-monster movie.

The humor gets raunchy enough to earn the "R" rating, but in some ways, it's pretty tame, especially in the wake of "The Hangover."

Anthropoid is engrossing but it isn’t happy. War movies, at least the best of them, seldom are.

Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.

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

In style, if not substance, The Greatest Showman is reminiscent of the Disney film, "Newsies." Like the 1992 live-action musical, The Greatest Showman comes to life when the characters are singing or dancing but struggles through the sequences in between.

Anyone expecting a movie dominated by figure skating will be disappointed. The Cutting Edge concentrates on its characters, with the skating limited to a supporting role. This is not a movie for cynics, nor for those who don't occasionally like to sit back and enjoy an undemanding, "comfortable" film. For unadulterated fun, The Cutting Edge may not earn a gold medal, but it's worth at least a bronze.

Whatever its faults, Ghosts of Mississippi is certainly an involving drama. However, while I have no doubt that Reiner meant for this to be an indictment against racist attitudes and a survey of some of the successes and failures of the Civil Rights movement, it succeeds only sporadically at those goals.

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

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

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.

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

Tomorrow Never Dies is a better film than Goldeneye. In fact, it's the best Bond film in many years.

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

Like Jeff Bridges in "Crazy Heart," this is an opportunity for a sometimes-underrated actor (Elliott has never been nominated for an Oscar) to show his range and capabilities.

There are times when the comedian falls back on his typical shtick, but the film doesn't shy away from the darkness inherent in this kind of story, and it has a heart.

Despite its flaws, Total Eclipse is the kind of movie that stirs thoughts and ruminations about the nature of genius, the true meaning of art, and the unfailing capacity of great people to destroy themselves and others. Holland has not matched the success of two of her previous films -- Europa Europa and Olivier Olivier -- but this picture is still a respectable examination of a fascinating historical relationship.

Letters from Iwo Jima is a unique American-made war movie for at least two reasons: it depicts the battle from the perspective of the losers and it represents the United States as the "enemy."

Just don’t expect this to be a light, escapist excursion into outer space. Even by sci-fi/horror standards, this is dark, gruesome, intense stuff.

Unlike so many of the bloated, disappointing entries into the 2016 big budget sweepstakes, this is good escapist entertainment.

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

By making the key participants in The Valley an Indian-American family with many traditional values and customs, Kariat emphasizes the universality of the problem.

This movie is mostly about visual razzle-dazzle and riffing on film noir conceits. Rodriguez hasn't deviated far from his mission statement for the original and that's a good thing for Sin City fans.

Riddick isn't perfect but it's a good high-octane sci-fi tinged action/thriller.

As a character study, The Little Things works. As a thriller, it’s a mixed bag and individual preferences will determine whether to classify the resolution as exhilarating or annoying.

Gerwig is trying for something a little different, juggling the time frame and creating a “meta” ending to make the story’s feminist themes overt and incorporate an ambiguous “twist” that some will see as clever and others may find heretical.

Megamind is largely what one might expect from an animated movie featuring a number of notable comedians in voice roles: an amusing diversion.

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.

The strength of the cast speaks volumes about the "prestige" aspect of the production. In addition to Bridges, Meryl Streep, Katie Holmes, and Alexander Skarsgard contribute.

It's an enjoyable and occasionally thought-provoking motion picture whose viewership should not be diminished by the unfortunate and inaccurate "anti-American" label.

The General's Daughter is for all those who enjoy mystery/thrillers that neither attempt to break new ground nor are afraid to employ familiar plot devices.

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

The Dissident is a solid recap of Jamal Khashoggi’s demise, but it left me wanting more than Fogel is able to provide, even though he hints at an issue of vastly greater importance than the death of one dissident.

The result is an entertaining diversion but it lacks the magnificence one desires in the opening chapter of a would-be franchise.

In movies this deliberately paced, the line between fascination and boredom is a fine one, easily crossed. Fortunately, Bubble stays on the right side of that line.

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

The thing that makes The Accountant unique, however, and elevates it above the garden variety action-thriller, is that the title character’s “superpowers” result from his autism.

Unfortunately, along with his determination to burrow into the lead character’s psyche, Oscar-winning Damien Chazelle (whose statuette came for "La La Land") fully embraces the shaky-cam handheld approach.

Ender's Game is uneven - at times almost maddeningly so - with the first half offering more enjoyment than the second. Perhaps that's because, in military-style movies, I often prefer the training segments to the battle sequences.

If you think "Hero" is a sumptuous film, prepare to be blown away by House of Flying Daggers.

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

The meandering nature of the screenplay causes the movie to seem overlong as it noticeably loses momentum following a key coming-of-age moment. The episodes that follow don’t seem as fully realized as the ones that come before and, by the time The Hand of God ends, it’s floundering. On the whole, however, this is a charming and at times moving reminder of what it meant to be young in the 1980s.