James Berardinelli

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

It’s almost worth seeing Last Night in Soho for the glorious heights of the first hour as Wright manipulates the visuals and acts like a master magician in developing his illusion. It’s when the illusion evaporates that the movie disappoints and, because it starts out so strongly, that makes the lackluster final act all the more discouraging.

The movie works not because of twists and switchbacks in the narrative, but because of the skill with which Cortés has conceived this singularly disturbing nightmare.

Chris Cooper, the consummate professional, has no trouble making viewers feel sympathy for a potential killer.

With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.

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

While The Limits of Control offers some picturesque photography and grist for thought, it is ultimately too much like The Emperor's New Clothes to warrant anything approaching enthusiasm. The message is banal and the means by which it is presented reeks of artifice and pretention.

It's difficult to overstate how much of a rare find this movie is. Colombani and her cast remind us that the best thrillers are built upon superb writing and strong acting.

This is most definitely NOT a date movie. But if you appreciate films that are more substance than style, that take challenges and don't follow formulas, and that feature Oscar-caliber performances, Closer is not to be missed.

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.

The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema.

The acting is superb across-the-board, with the three younger performers deserving accolades.

The Client is an example of what happens when a production team does the best they can possibly do with a routine script.

Genre fans may perceive it as good enough to scratch an itch but no matter how well it eventually incorporates the various Pride & Prejudice tropes, it’s hard to see this as more than obligatory and unnecessary.

The images in The Good Lie have the power to disturb but lack the gut-punch impact necessary to give us an immediate and lasting connection to the protagonists.

Ultimately an uplifting movie because it is about triumph.

The film conveys energy, color, and movement from start to finish, irrespective of whether Polina is dancing, bartending, or trying to catch a few moments of sleep in a laundromat.

This isn’t a good movie in the conventional sense of the word but it may hit the sweet spot for those who have declared their affection for the slacker musicians originated by Keanu Reeves and Alex Winter more than 30 years ago.

Because I so enjoyed the last 45 minutes, I'm tempted to recommend it. The problem is that you have to sit through an hour to get to the worthwhile parts.

The screenplay is quirky enough to resemble an unfinished Coen Brothers narrative but mainstream enough to appeal to a broad audience.

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

Despite some great acting, Film Stars Don’t Die in Liverpool is a largely unpleasant viewing experience and the downbeat tone isn’t helped by a narrative that flits back and forth in time without rhyme or reason, sometimes confusing the viewer with the needlessly convoluted transitions from flashback to present (and vice versa).

The result is a mature and challenging motion picture, and something that will stick with viewers after the screen has gone dark.

Along the way, there are moments of pathos and light humor but Last Flag Flying only occasionally ventures into melodrama or silliness, and those instances are easily forgiven.

Pussycat is classic Meyer. The three leads are all topheavy, the action-packed plot is paper-thin, there are loads of double-entendres amidst the cheesy dialogue, and the style is pure low-budget. This is fun stuff, to be sure, but definitely of the "guilty pleasure" sort.

The Conjuring 2 proves that, with a sufficient investment of time and energy, sequels don’t have to be unsatisfying cash-grabs.

Director Todd Haynes' (Safe) much-anticipated look at the "glam rock" scene of two decades ago, is like a jigsaw puzzle with half of the pieces missing.

The Front Runner is a less a film for general movie-goers than for political junkies.

This Blumhouse production marries fish-out-of-water elements with some philosophical musings and offbeat characters that might remind viewers of (Robert) Altman lite. The ending feels a little forced, as if the filmmakers felt that not providing some kind of punch might disappoint viewers, but there are enough little pleasures along the way to more than compensate.

Made well, this sort of material has the potential for a deliciously lurid two hours. But Feig's lack of aptitude with the material results in a cheap and artificial product, never really drawing the viewer into its web and spinning an overlong yarn that fails to embrace an identity.

Deadfall suffers most obviously from a sense of not being adequately developed.

A movie assembled from diverse pieces that don't quite match. It's the cinematic equivalent of a patchwork quilt.

The screenplay stretches the viewer's credulity far beyond the breaking point, asking us to accept dozens of absurd contrivances and coincidences.

Caught Stealing gives [Aronofsky] the right canvas, and he delivers with enough style to lift the film above the B-movie neo-noir roots of its screenplay.

The three leads provide convincing performances, with Dakota Fanning being the standout.

The unpretentious, easy-to-digest style and short running length (a shade over 90 minutes), when coupled with strong acting (especially on Williams' part), make My Week with Marilyn a pleasant end-of-the-year diversion.

Simply isn't a very good motion picture.

Salt is more than mere seasoning; it's a full bouillabaisse comprised of bits and pieces of James Bond, "The Manchurian Candidate," "The Bourne Identity," TV's "24," and the Nelson DeMille novel "The Charm School."

Mockingjay Part 1, released a year ago, was a disjointed, incomplete affair and, although Mockingjay Part 2 is more polished, the pace is uneven and there’s a sense that the series has hung around too long.

Ultimately, the plot (irrespective of how faithful it is to real life) isn't the problem - it's the unevenness with which co-directors Glenn Ficarra and John Requa (both making their directorial debuts) approach it that limits the film's success and mutes the experience of sitting through it.

The content is actually pretty bland -- it's not incisive, it's not daring, it's not uproarious, and it's not very good.

Looks at isolation and the fragility of human relationships. It's a poignant, unsettling motion picture that will baffle those who have become used to Hollywood's compact, tidy endings.

The style feels a little like that of the recently departed TV show "24," albeit without Kiefer Sutherland, the split screens, and the ticking clock.

There are not a lot of laughs in Dan Rush's directorial debut, nor are there intended to be. Rush keeps the tone as light as possible, but no one would mistake this for anything other than a quirky, character-based drama.

It's disappointing that so much talent has been assembled with so little to do.

Taken on its own, Saving Mr. Banks is a pleasant, crowd-pleasing endeavor. For those with a soft spot for Mary Poppins, however, it's a treasure.

Made in Dagenham is a useful lesson in history and a reminder that we yet have a distance to travel to attain the goal, but the narrative is dry, safe, and predictable and, as a result, not fully satisfying.

The result is an entertaining and sporadically engrossing two hours.

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

Despite its name, Beautiful Girls is actually about a group of irritating, twenty-something males whose adolescent attitudes have remained with them well into adulthood.

The easiest way to summarize my reaction to X-Men: First Class is with a shrug.

Despite some obvious overplotting, Oscar and Lucinda is a mostly effective and often affecting motion picture that touches our hearts while daring our minds to balk at its implausible coincidences.

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

A charming, family friendly endeavor and, although it falls short of the best Pixar has brought to the screen over its long association with Disney, it's nevertheless worth a trip to the theater, especially for kids.

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

Dominic Cooke’s unadorned style and pacing work for the material and the result is a spy story worth telling and experiencing.

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

A film as rich in its visual presentation as it is in its emotional resonance.

A moderately entertaining but overlong film that emphasizes visual razzle-dazzle over narrative backbone.

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

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

Fincher eschews quick cuts in favor of long, leisurely ones. He knows what he's doing, and the proof is in the result. The suspense in Panic Room never ebbs, and that makes for a thoroughly entertaining -- if somewhat exhausting -- 108 minutes.

Linklater has crafted an entertaining motion picture.

The opening sequence/prologue is gripping but that’s the only aspect of Twisters that works on its intended level. I was not blown away.

Beneath its aw-shucks, wants-to-be-liked exterior, this is a bankrupt motion picture. It's cloying, artificial, and not the least bit romantic.

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

There are plenty of small pleasures to be found throughout Darnell Martin's feature, but a compelling storyline featuring three-dimensional characters is not among them.

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

Director Michael Cuesta hits the right notes with his characters. They are believable 12-year olds: intelligent (but not too intelligent) yet naïve, and trying with mixed success to navigate the path of adolescence.

An inferior product. It is not well written, well acted, or well directed.

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.

Whatever small pleasures it may offer are wiped out by the frustrating sense of incompleteness that accompanies the arrival of the end credits.

Written without much concern for logic and coherence, the movie wavers between being a drama and a thriller and, as is too often the case in situations like these, doesn’t work as either.

What starts out as a devilishly clever exercise in evasion and detection turns into a self-parody that climaxes with several eye-rolling whoppers. Well, at least it’s never boring.

In a streaming series spread out over four or six hours, this might have offered compelling content (and certainly would have seemed less rushed) but, in its current format, it’s more frustrating than satisfying and the facile ending doesn’t hit the right spot.

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.

There's enough drama here to fill two hours. Whether or not that happens, Rupert Murray's account represents fascinating viewing, and the richness of the subject matter more than makes up for the crudeness of some of the visual elements.

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

Technically, it's superbly made; dramatically, it fails to achieve escape velocity.

Despite being saddled with bad prosthetics and a ridiculous wig, Diesel displays more acting ability than in the testosterone-soaked genre where he has carved out a niche.

It's a sincere-yet-uninspired diversion, and not even two strong performances can elevate it to a higher level.

Although there is a political element to this movie, however, it works on a primal level – that of a person struggling to find not only a path forward but some kind of meaning in an act that lacks reason, compassion, or sense.

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

Unfortunately, for all its button-pushing, the movie's biggest offense is that it is often tedious and meandering and it takes at least 30 minutes too long to cross the finish line.

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

As an introduction to the story for someone with no previous exposure to Oliver Twist, Polanski's movie is adequate.

The movie, written for the screen and directed by Scott Cooper (who helmed Jeff Bridges’ Oscar-winning performance in "Crazy Heart"), is careful not to demonize anyone and make the path to redemption both slow and methodical.

The Overnight plays like the pilot of a sitcom developed for Netflix or premium cable. A hit-and-miss affair that deals in a sporadically amusing fashion with many of the mundane (and a few not-so-mundane) tribulations of long-term monogamy in marriage.

As common as the plot might be, the manner in which the film approaches at the subject is decidedly different. Leslie Harris brings a gritty perspective to this story that illustrates it isn't just boys who suffer in the hood.

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

Hocus Pocus is an occasionally dull, mostly pedantic motion picture with little to recommend it. It belongs on the long list of summer movies that will quickly be buried and forgotten until the surface on video in six months. For real fun at the expense of the dead, see instead Sam Raimi's Army of Darkness.

The film, anchored by a towering performance from Dwayne “The Rock” Johnson as Mark Kerr, is at once a sports drama, an addiction-and-recovery story, a tale of toxic romantic love, and an ode to male friendship. Unfortunately, it doesn’t fully succeed as any of these, because with so many elements competing, none has the room to truly emerge.

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

The in-your-face style of We Were Soldiers results in a suspenseful, intense, and exhausting cinematic experience.

Despite providing an opportunity to spend 147 minutes in the company of people we have grown to know and love over the years and advancing the narrative toward its final cataclysmic confrontation, The Deathly Hallows Part One underachieves. At a time when Harry Potter should be soaring to new heights, it remains curiously grounded.

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.

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.

For romance junkies, the film checks all the boxes. For those who want a little more, it comes complete with a smart script, likeable leads, and a willingness to occasionally tweak a trope or two. My only complaint about Plus One is that the ending feels a little rushed.

This Means War is not funny enough to succeed as a comedy. It's not emotionally deft enough to succeed as a romance. And it's not exciting enough to succeed as an action film. It's a high-energy, fast-paced explosion of moments that can be edited together to make a compelling trailer.

Although I was suitably diverted by Last Breath, I couldn’t help but feel there was a missed opportunity to tell a more riveting story that, for whatever reason, the filmmakers chose not to pursue.

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

Three adjectives spring to mind when describing Marie Antoinette: odd, irritating, and tedious.

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

There's plenty of humor in the film, but the movie is often a little uncomfortable to watch, and Napoleon is not an easy guy to like. Rooting for him takes effort.

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

Perhaps the most disappointing thing about Suffragette is that it too obviously wants to be an important movie. The self-consciousness of this desire is evident.

Interview has its moments but they can't prevent it from feeling a little long winded and unsatisfying.

Hard-core science fiction fans will likely greet Sunshine with a smile. Others may find this to be an odd motion picture, but there's enough going on that even those who are expecting something flashier should still be engaged.

Overall, it's a story of triumph and adventure - of oppression ended and freedom begun.

This is essentially a familiar story told with consummate skill.

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

Frozen II is a worthy follow-up with enough heart, action, and music to entertain younger and older viewers alike.

Disconnect is by turns frustrating and fascinating.

Young is very good in her part, making Eva a strong, flawed character whose depth helps to counterbalance the shallowness of everyone else. On the whole, however, The Damned wasn’t able to achieve what I was hoping from it and, rather than being an overlooked gem, it’s instead simply “overlooked.”

Maxxxine is the weakest of the three members of the X Trilogy. It’s as if West and Goth were too enamored with the character to let her fade away, so they contrived a scattershot and ultimately unsatisfying way to return her to the screen.

As disappointing as the wrap-up is, it can't erase the chilling psychological warfare that represents the majority of what precedes it.

One of the most uplifting and delightful films to have come along this year.

There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.

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

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.

This movie is an entertaining and sometimes wildly-exhilarating ride.

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

Girls Town does an excellent job of uncovering the angst, pressure, and doubt associated with the late teenage years. Its a refreshing film, not only because it shines the spotlight exclusively on girls (all the male characters are incidental) but because it does so without a whiff of exploitation.

Captain Marvel, coming only a year after the fantastic "Black Panther," is a disappointment. The acting and special effects are solid but the writing, by co-directors Anna Boden & Ryan Fleck (elevated from the indie productions where they made their mark) with an assist from Geneva Robertson-Dworet, is lazy.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

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

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

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

Moody and atmospheric -- a study in tone over plot and pacing over characterization. Unfortunately, in devoting all of their efforts towards the film's look and feel, co-creators Mark and Michael Polish have crafted a motion picture that is static, occasionally opaque, and, worst of all, boring.

Williams nails it.

Those who have learned to enjoy the duo on MTV (for whatever reason) will welcome this as a holiday treat. Everyone else will have a better time if they stay away.

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.

Prometheus is the antithesis of the "big, dumb summer movie." Its visuals and special effects can stand toe-to-toe with any of the season's spectacles, but are audiences ready for something with an intelligent, thought-provoking screenplay where the action is secondary? Prometheus is flawed, but stupidity cannot be numbered among its missteps.

There aren't many surprises, but the script is written with a degree of wit, and there are some bitingly funny one-liners (all of which are delivered by Garofalo).

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

The Pursuit of Happyness is long, dull, and depressing.

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

If I wanted to be kind, I’d call Luca Guadagnino’s Suspiria remake “visually striking” and “stylish.” If I wanted to be brutally honest, I’d call it “tedious”, “pretentious”, and even “painful” (although not in a good way).

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

This is the most mature horror movie of the year - far more adult and sophisticated than the tedious Hostel Part II. If you like to be creeped out by movies, this is one to see. It reminds us what it's like to be scared in a theater rather than overwhelmed by buckets of blood and gore.

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

Aside from some cosmetic changes, little of what this Fright Night offers elevates it above the classification of "unnecessary."

Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.

What potentially could have been the greatest asset possessed by Che - its unapologetic length - turns into its greatest detriment.

There are times when it borders on the pretentious but there’s a real, emotional payoff and it doesn’t hurt that veteran actors Michael Caine and Harvey Keitel give Top 10 career performances.

The problem is, while the thriller aspects of the movie are serviceable, they aren't good enough to form the basis of anything more serious than a sit-com, and by spending as much time on them as Code Name: The Cleaner does, it makes the film at times seem drawn-out and tedious.

Jim Henson's creations have always appealed on more than one level, offering adorable playmates and positive messages to children and surprisingly sophisticated humor to adults. MUPPET TREASURE ISLAND, the fifth big screen feature to star Kermit the Frog and friends, and the second directed by Brian Henson, delivers exactly what fans -- young and old -- expect.

The promise of Before We Vanish’s early moments is never fully realized, however, as the movie plods and meanders through an overly-familiar narrative on its way to a half-baked and uneven conclusion.

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

What starts out as a seemingly-routine excursion into genre clichés emerges into a more complex and satisfying arena than most viewers will anticipate.

This movie is more of a curiosity than a fully formed motion picture.

Napoleon was without a doubt a complex and controversial character whose shadow loomed large over the first quarter of the 19th century. He deserves a better-focused, more passionate movie than the one Scott has provided.

Living Out Loud is not a monumental motion picture. In fact, in many ways, it's quite the opposite - a quiet, unassuming story of friendship and love that uses richly-developed characters to charm its audience.

Even some who generally enjoy gangster films may be turned off by this one, with its focus on dialogue over action and its harsh style.

The character arc of Paul Safranek (Matt Damon) lacks verve and, although some will appreciate the low-key denouement, the film as a whole exudes unfulfilled potential and the ending provokes little more than a shrug of the shoulders.

From the first scene, however, it's obvious that the writing/directing team of Andy and Larry Wachowski are aiming for something considerably higher than rudimentary titillation. And, by taking chances and twisting conventions, they have hit paydirt.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

Cloverfield's gritty, in-your-face style is uncompromising. If you're looking for a nice, clean movie filmed with a steadycam, you'll have to look elsewhere.

In a way, Fury and 1970's "Patton" could be considered companion pieces. Both deal extensively with tank warfare but from different perspectives.

The Young Victoria feels like a wasted opportunity and is among the least impressive in a long line of motion pictures about British royalty.

The movie The Road is nowhere close to its literary sire, but it's probably the best one could hope for from a movie version.

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

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

As a dramatic thriller, it does what it needs to do to keep the audience involved and interested, even if some of its most theatrical tricks and twists are more the products of a writer’s invention than actual Washington D.C. activities.

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.

Ambitious material for a first-time directorial outing, but, even with a huge assist from his lead actor, Malkovich doesn't nail it.

Passably interesting, occasionally compelling, sporadically amusing, and badly lacking in focus.

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

Unfortunately, it's almost impossible to make it through the entirety of Ant-Man's two hours without thinking of "Honey, I Shrunk the Kids" as least once, and I'm not sure that's an association the filmmakers were courting.

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

A nice little documentary that provides a view of recent history for those who didn't live through it, or a nostalgia trip for those who did. However, as vehicle for presenting anything new or surprising, it fails.

As a vehicle for examining the conflict between religion and artistic freedom, Sirens is shallow, and scenes concentrating on this issue dampen some of the lighthearted fun. Sometimes, it's better not to try for too much substance with such an earthy basic premise.

While some of the darker threads in the movie are welcome – Guardians was in danger of becoming overtly jokey – it suffers from many of the same problems that have dogged the latest round of comic book movies: a too-long running time, not enough genuine excitement, a generic villain, and a weak ending that doesn’t justify all the build-up.

The movie's central flaw: it's not funny enough to be worth the price of admission.

Pretty pictures - thats what The Fall has to offer.

There's no question that State of Play feels a little rushed and the density of plot can be daunting, but the resulting tale unfolds with an urgency and sense of verisimilitude that will keep most viewers intrigued and involved without losing many along the way.

This is a tedious and insulting motion picture. The only ones likely to be surprised by the payoff are those who understandably dozed off fifteen minutes into the proceedings.

Little Odessa is an extremely complex motion picture, layered with powerful themes and fascinating characters.

The Beach House is a middling horror film with aspirations of recalling The Fog or The Mist but lacking the screenplay to come close to either.

The humor in this movie is smart enough that even a moderate level of intoxication or inebriation is not necessary to enjoy it.

St. Vincent may be a little kinder and gentler than the likes of "Bad Santa," but there's enough inappropriate behavior and comedic friction to fuel an entertaining 103 minutes.

Westerns often take themselves seriously and, while Appaloosa is no "Blazing Saddles," there's a refreshing vein of understated humor running throughout the production.

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.

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.

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

After a promising beginning, this movie crashes and burns.

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.

For every thing that Stage Beauty does right, it fumbles at least one other element, resulting in a movie-going experience that is of the glass half-full/half-empty variety.

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.

"The Hangover" was high octane fun. "The Hangover Part II," despite its repetitive nature, was enjoyable. The Hangover Part III is some kind of hideous experiment in mass consumer torture.

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

The film is not riotous, but it is sporadically amusing.

The movie contains the same dry humor that infused the John Wick films. Although the action is in earnest and generates a fair degree of tension during the most intense sequences, the film’s breezy tone is a tonic for those who don’t like to feel wrung-out after violent, edge-of-the-seat confrontations.

As disaster movies go, Greenland is neither exceptionally good nor exceptionally bad.

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

Twilight isn't an especially good movie, but neither is it an abomination. At times, the dialogue is laugh-aloud bad - almost to the point of being hilarious.

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 material is intellectual, but the treatment is not. Proof is a stirring motion picture that challenges our views on a great many things about life, some of which we take for granted. And, by opening up the play, Madden has made it less talky and more cinematic without losing the quintessential elements that made it such a success on stage.

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

Thematically rich, impeccably crafted, and intellectually stimulating, the only area where this movie falls a little short is in its emotional impact.

Although The Muppet Christmas Carol doesn’t really work as an adaptation of the beloved Dickens novel or as a Muppet movie, it nevertheless works on its own terms for a niche audience. It’s the kind of high concept family film that can be carted out every Christmas season and enjoyed in the same way as “Frosty the Snowman”, “Rudolph the Red-Nosed Reindeer”, or “The Year without a Santa Claus.”

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.

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

The average thriller, even if it's set in a faraway or futuristic world, tends to offer visceral, ephemeral excitement, and not much else. However, while Gattaca has the energy and tautness to compare with the best of those, its thought-provoking script and thematic richness elevate it to the next level.

Robots is more than a load of spare parts, but there are some sprockets and rivets missing.

Mehta has created a pair of memorable characters who are easy to empathize with, and who gratifyingly are never transformed from flesh-and-blood individuals into mere symbols.

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

It's a muddled, meandering affair without a thesis or a point to prove.

So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.

A major misstep and a disappointment of significant proportions. It may not be a failure for Eastwood the actor, but it's a big one for Eastwood the director.

The Nutty Professor aims for guffaws at the lowest level -- anyone with a double-digit IQ will get every joke. Whether you laugh at them or not is often more of a matter of taste than a question of having a sense of humor.

Wonderfully romantic and romantically bittersweet. It's not about forever; it's about now.

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.

Although Shortbus doesn't work as porn (and I don't believe it's intended to), it also doesn't work as a serious drama. The storyline is juvenile and the characters remain poorly developed and incomplete.

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

One of the great frustrations associated with Fast Food Nation is the way it drops subplots.

The movie’s narrative twists are neither surprising nor interesting and the emotional weight of the story and characters is feather-light. It is, however, engaging in a disposable fashion, offering occasionally entertaining instances (such as the aforementioned Tarantino homage) and an animation style that seems less plastic than many of today’s generic offerings.

At its best, Dumb and Dumber is like an Ernest movie with a scatological bent.

All of Alpert’s hits are present and accounted for and there are also a few lesser-known tracks.

While the idea sounds fertile, the execution is uneven, and the comedy sporadic at best.

In the Rambo canon, where does this one fit? The tone is closer to "First Blood" but the body count is more "Rambo III." No matter how one dices and slices this new Rambo, the first one in 20 years, it will likely please fans of the long-in-the-tooth series.

A nearly flawless example of movie composition, with close examination revealing how carefully it was put together. For those who take a less studious and more visceral approach to movie viewing, it's also worth noting that Chinatown is a superior thriller - one that will keep viewers involved and "in the moment" until the final, mournful scene has come to a conclusion.

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

It's a cobbled together mess of clichés that fails to surprise at any of its turns.

Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.

The film's central flaw is that the characters are haphazardly developed, and don't come across as more interesting than the props.

The good points about Unfaithful can't overcome the movie's eventual downward spiral.

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

The action is genuinely exciting and, perhaps most importantly, the concept of “Artificial Intelligence” is given more than lip service. It is addressed in an intelligent, penetrating fashion rather than being thrown in as a plot point.

The problem is, the characters don't grab me, and the story meanders too much.

While there's no denying that young actress Lindsay Lohan has spunk, she's not terribly effective in the dual role. Her performance is awkward and unsubtle -- she relies on an unconvincing British accent to cue us in to which girl she's playing at any given moment.

Without the elegant technique of John Woo, Hard Target could have been a real dud. It is not a good alternative to more intelligent thrillers such as In the Line of Fire and as The Fugitive, but that's not the market it's aimed at. However, those who enter a darkened theater showing this film with a reasonable idea of what they're getting themselves into, are likely to emerge satisfied.

Great premise, terrible execution.

Disappointing, but barely watchable.

Has enough genuine laughs to eliminate the potential twitters and snickers, and it treats Edward and Lee as people. We end up caring about what happens to these two individuals, even as we smile and laugh at their antics.

Because the script is smart enough not to insult us and to develop a group of interesting characters, the act of watching the film is an entertaining experience rather than a tedious exercise.

Just a run-of-the-mill slasher/thriller.

For those who enjoy the saturation style of humor and appreciate the way in which parody is not pushed too far into the absurd, Walk Hard is not without merit.

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

With impeccable period detail, strong character development, superior acting, and a surprisingly fast pace, this film represents welcome counterprogramming to the typical loud and vacuous summertime multiplex fare.

In the best tradition of mystery thrillers of this sort, it satisfies enough on an emotional level that we're willing to forgive any intellectual, procedural, and logical shortcomings.

Intriguing but ultimately unfulfilling.

Kingdom of Heaven may have problems, but it delivers.

The film will likely find a receptive audience among those who enjoy blood-soaked B movies. It has enough gory elements to enhance the overpowering mood.

I could easily list a half-dozen movies about famous artists/authors that fall into the same general category as this one. Excepting Cumberbatch’s performance and the strong visual sense, there’s not a lot to separate this from any of them.

Boasts a strong ensemble of performances. Martin Freeman is the perfect choice for an ordinary, unheroic Earth guy.

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

Out of the Furnace features some nice performances and is deliciously atmospheric but it never achieves its goal of being a compelling meditation about how the economic erosion of a community influences the lives of those trapped within it.

Guy Ritchie’s name not withstanding, there’s little here with strong mass appeal – not enough mind-numbing action; too much dwelling on a recent, tragic, failed war; and a muted catharsis. It’s also one of the best things Ritchie has done since his early years (only Lock, Stock is unequivocally better) and deserves a viewing when MGM brings it to streaming.

Regardless of whatever ephemeral entertainment this production may offer to some, it is not by any reasonable definition a good movie. It is badly written, inexpertly directed, poorly acted, erratically paced, and features music of dubious worth.

The movie is at times funny, at times blistering, and at times insightful, but it lacks consistency, thereby arguing that perhaps the short film that provided its basis offered a better length.

A New Era offers the kind of comfortable, comforting experience that Downton Abbey aficionados have been awaiting since before the term COVID was coined.

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

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).

As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.

The story is pure exploitation but the style bespeaks a more artistic bent. The film can be enjoyed (to the degree it can be enjoyed) for its excesses, perverse humor, and excursions into blood, barbarism, and violence, but the narrative doesn’t make a lot of sense.

The end result is an unremarkable, unmemorable movie that deserves neither praise nor approbation.

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

The best thing that can be said about Wright's immersion into the world of Tolstoy is that it's interesting - a quality not always true of Anna Karenina adaptations. The movie also doesn't feel rushed, successfully capturing more of the novel's secondary stories into its fabric.

As chick flicks go, this is one men can attend with the expectation that they might just enjoy experiencing two hours alongside these down-to-earth, appealing characters.

A respectable and satisfying historical romantic melodrama.

Unchallenging but easy to like. There's not enough here to capture the interest of those indifferent to romantic comedies, but fans - even of the casual variety - will find this to be a pleasant mid-summer diversion.

It has great action sequences, more than a splash of legitimately-funny humor, solid performances from engaging actors, and a script that doesn't demand much mental exercise.

While Muriel's Wedding has its moments of exhilarating humor, it is, as often as not, downbeat and even mean-spirited.

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.

The Last Exorcism is one of those rare films where the marketing campaign is more interesting than the film it publicizes.

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

Whether this is an accurate depiction of how things are in real life, I cannot say, but it's almost always how they are in the movies.

The Hunter works best as a travelogue and a thought-piece about the ugly, shadowy side of resurrecting dead species.

Les Miserables understandably cuts some of the stage production's numbers, but all of the major anthems are intact and wonderfully presented.

A lot of what's intended to be funny falls flat, in part because it's too obvious and in part because director Steve Pink is clumsy when it comes to comedic timing.

It's hard to say whether Anchorman is the funniest movie of the year - it has enough offbeat and gut-busting moments to make it worth consideration in that category.

While Straczynski should be commended for remaining reasonably true to the historical record, this results in an open-ended conclusion that isn't entirely satisfying.

Although there are occasions when individual set pieces are effective (such as a short bit involving a locked bathroom door), the film as a whole seems more like a series of missed opportunities than a “return to form” for director M. Night Shyamalan, who continues to trade on a name he made two decades ago.

Rocky Balboa is not as good as "Rocky," but it allows us to forget the other four sequels, none of which was memorable.

Oozes atmosphere. The humor keeps it from becoming too creepy, but there are still a few chills to be had.

Damon's prior appearances as Jason Bourne make him credible in this role.

This is another movie where politics trump the narrative.

The movie develops in two pieces - one dealing with the quest for the hidden riches and once concentrating on the relationship between father and daughter. The latter works; the former doesn't.

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

An atmospheric period-piece murder mystery, The Limehouse Golem combines elements of Sherlock Holmes and Jack the Ripper into a Victorian-era gothic stew that, although perhaps not as ultimately satisfying as it might have been, nevertheless provides for an unsettling two hours.

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

There's a fine line between wit and absurdity, and this particular movie too often falls on the wrong side.

Although the ending is generic and needlessly protracted, the production as a whole is suspenseful – full of diabolical little twists as it ventures deep into an uncomfortable territory using the trail blazed by "Misery."

Adams shines brightly, reinforcing the image she projected in Junebug and enhanced in Enchanted and Charlie Wilson's War. At this time of the year, it's tough to find a more diverting way to spend 90 minutes in a multiplex.

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

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

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

The equation of "drugs+booze+sex=happy ending" applies. Then along comes Harmony Korine with Spring Breakers and subverts an entire genre.

Although engaging at times, Fingernails is ultimately frustrating.

Isn't quite good enough to elicit a purr, but it represents better-than-average movie-making that doesn't demand a dumb, distracted audience.

It offers genuine scares and chills without the self-aware, packaged feel of many horror/thriller films.

The only thing surprising about this lackluster animated production is that it attracted an A-list voice cast.

Like its main character, the production rarely seems ready for prime time.