James Berardinelli

Teeth is not only odd but it's genre-defying. The film doesn't limit its field of choice: it's a black comedy, it's a drama about teen angst, it's a romance gone bad, it's a B-grade horror film, it's an allegory about female empowerment.

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

Character development is of secondary importance to narrative and theme. As a result, we never really get to know any of the film's protagonists.

A pleasant dramatic comedy that overcomes its tonal inconsistencies by presenting an engaging lead character with whom its virtually impossible not to empathize.

Emotionally, Linklater’s recreation of August 1980 is spot-on. Sure, there are a few anachronistic cheats (how many college-goers in 1980 had a VCR in their room?) but the tone is just about perfect.

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

It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.

A grim, thought-provoking drama. It aims to be both heartbreaking and (in an odd way) inspirational, although the former is more convincingly conveyed than the latter.

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

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

No Reservations may not be a modern day classic but, despite the relatively small budget, it has more heart than nearly anything currently playing in multiplexes.

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

It's smart, strange, unpredictable, and defies the formulas that typically define this sort of motion picture.

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

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

If nothing else, The Many Saints of Newark recaptures the feel and aesthetic of David Chase’s The Sopranos, the TV series that was frequently cited as the best television had to offer during the eight years when it was on (and off) the air.

Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.

When the story moves into the 2000s, Christy finds its true identity—not as a tale of athletic triumph but as a portrait of endurance and survival. It’s messy, painful, and deeply human, which makes it far more compelling than the average true-life sports drama.

An unremarkable bio-pic about a remarkable man.

Although none of the characters are fleshed out much beyond the comic book level, we nevertheless find our sympathies aligning with them.

Although not as expertly-crafted as "Die Hard" or "Speed," The Rock is exhausting in its own right -- and that's just one of several convincing reasons to see this film.

A gleeful and unapologetic descent into delicious decadence, Killer Joe is proud of what it is and never tries to be something it isn't.

It's easy to admire what the Coens are trying to do in Fargo, but more difficult to actually like the film.

The story, although straightforward, is by no means simple, and there's enough in The Secret of Roan Inish to delight both children and adults.

With names like Spielberg, Hanks, and the Coen Brothers, it's hard not to be excited about a project like Bridge of Spies. Yet, although the workmanlike production is solidly engaging, it falls short of the loftiest expectations. It's worth seeing but not one of the best films of 2015.

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

Overall, Death of Unicorn falls short of being the Next Great Cult Classic but there’s enough here to enjoy for those who appreciate offbeat horror that doesn’t skimp on the grotesque aspects of the genre.

Most rom-coms take vague stabs at humor while focusing on the romance. Here, the balance is shifted. There’s enough chemistry between Day and Slate to get us to root for their coupling but both are comedians by trade and that serves them well.

Ed Helms, a Hangover veteran, is a perfect choice to take over the reins from Chase.

It makes for a fascinating exploration of the human experience.

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.

Die-hard Christie purists may be disappointed by some of the changes but, on the whole, Death on the Nile is faithful enough to tell the story and different enough to work better with modern-day concerns about diversity than the original text.

Despite its good intentions, A Family Thing could easily have been a mediocre drama, but the excellent performances elevate the film considerably.

Those who have an inherent distaste for this sort of entertainment will appreciate Conan the Barbarian's impeccable production values without enjoying the story; most everyone else will be swept away by the film's spectacle.

A Real Pain will resonate most strongly with movie-goers who don’t mind films in which conflict is internalized and where human interaction – simple, vivid, and unforced – takes center stage.

The Last Voyage of the Demeter is a harrowing journey but, for those who appreciate horror, it’s well worth taking.

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.

The darker tone, somber subtext, and generally non-exploitative violence allow viewers to enjoy the film not only as an action/thriller but as something with a degree of intelligence and substance.

The Secret Life of Pets is strong enough that parents won’t fall into a catatonic state while watching it with their offspring. Unlike top-notch animated fare, however, it’s questionable whether this can be considered “destination fare” for the single adult.

Coco may not be a blockbuster but, regardless of how it performs at the box office, it’s a welcome return to a variety of animated fare that prizes inspiration over safety.

The battle scenes are well choreographed and contain enough uncertainty to make them genuinely exciting, but one would expect no less from a man who has overseen Civil War engagements (Glory) and Japanese strife (The Last Samurai).

With its unique perspective on both the coming-of-age and thriller genres, the movie deserves to be seen by a wider audience than the one that normally frequents subtitled movies.

No one in their right mind goes to an Adam Sandler movie for any reason other than to laugh, and Grown Ups delivers.

Suffused with satire, wit, and the dry, tongue-in-cheek flavor of comedy one rarely finds in American productions, this stop-motion animated excursion pokes fun at pirate conventions while representing icons Queen Victoria and Charles Darwin as a bitch and a twit, respectively.

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.

The movie, which is concerned primarily with the several weeks surrounding Eichmann’s capture, mixes factual elements with a few “Hollywood touches” to provide a compelling thriller.

It’s an adorable confection – light, airy, and largely without substance.

For parents looking to spend time in a theater with their kids or adults who want something lighter and less testosterone-oriented than the usual summer fare, Ratatouille offers a savory main course.

In his long and distinguished career, only his Oscar-winning performance in 1983's “Tender Mercies” was this raw. Duvall becomes Sonny. The energy and passion of a preacher are all present.

The Rocketeer may not be perfect, but it's an excellent example of how to adapt a comic book to the screen.

Despite some of the seemingly obtuse screenwriting decisions made by Almodovar, Parallel Mothers is a strong, affecting drama that asks tough questions for which there are no neat, clean answers.

Ten Items or Less is not landmark cinema nor is it deeply thought-provoking, but it's smart, funny, knowledgeable about life and people, and a crowd-pleaser.

Unlike in many thrillers, the movie doesn't sandbag us with one last, cheap twist at the end. The Salton Sea contains its share of surprises, but none of them feels forced or artificial.

An infectious celebration of life and love.

Flesh and Bone is all suspenseful buildup without shoot-outs, chases, and explosions, and its conclusion doesn't demand a neatly-packaged resolution. More importantly, it's one of the few successful '40s-type noir thrillers to grace the big screen in recent years.

A thriller with enough of the right ingredients to provide a couple hours of escapism.

The sense of verisimilitude helps to ground the drama. Although MDMA goes to some dark places and features its share of ugly scenes, it’s ultimately a story of hope and redemption. It helps to remember that Wang has become a successful businesswoman and now filmmaker.

The Exorcist's strength is that it places character development on the same level as the horror elements, but it is not a ground-breaking motion picture. It is also too long, with a setup that could have accomplished the job with equal effectiveness in about 2/3 the time. [2000 re-release]

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

As documentary biographies go, it's workmanlike but conventional – a solid effort and worthwhile investment of time though by no means a transformative or perspective-shifting film.

Despite a few instances of profanity, the film could be at home fifty years ago. Lost in Paris is a capricious diversion with enough English that subtitle-phobes won’t feel completely adrift.

Finally - a superhero movie that doesn't feel like every other superhero movie.

For fans of the genre, Wake Up Dead Man delivers exactly what they have come to expect: a sharp, stylish puzzle box that is a joy to unlock.

Dramatically, Disclosure isn't especially potent, but it isn't drama that Crichton and Levinson are striving for. On its own terms -- the fear of lost security that many thrillers prey upon -- Disclosure works, and that's all that anyone can reasionably ask from this kind of motion picture.

It's a bit of a throwback and a solid family film and, at the time, represented a well-intentioned leap of faith of the sort that studios rarely take.

In the movies, romantic love conquers all. In reality, it's a little different, and that's what Gray is trying to show.

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

The intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay.

Hostage has suspense and momentum.

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

Detroit, despite its flaws, is compelling and deeply unsettling. Its thriller and horror elements gain resonance because, at least to some degree, they’re based on real events.

The movie is pleasingly vulgar and, although there's no nudity, the whole thing is about sex.

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

I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.

For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.

In order to appreciate I'll Sleep When I'm Dead, you have to be willing to absorb unhurried film noir, and to accept that the film's version of "closure" is a little frustrating.

By the time the two hour running length has expired, it's safe to say that Real Steel comes across as a legitimate crowd-pleaser.

It starts out small and reaches its crescendo 90 minutes later with an incredible sequence that generates more suspense from a series of text messages than I would have dreamed possible.

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

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

For something like Horrible Bosses to sparkle, the actors have to shine... and shine they do.

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

Harsh Times occasionally echoes "Taxi Driver," Ayer's own "Training Day," and even "First Blood" in the way it examines the psychological disintegration of a character and the seduction of amorality.

Searching for Bobby Fischer is an intensely fascinating movie capable of involving those who are ignorant about chess as well as those who love it. The focus of the film is less on the actual game than it is on the people, emotions, and pressures surrounding Josh. It is a tale of human trials and triumph, not a sports movie that panders to a certain segment of the population. Chess may not be the most exciting activity to watch, but Searching for Bobby Fischer makes for engaging entertainment.

A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.

Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

trong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great."

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

It doesn’t offer a story of any surprising depth or emotional strength. It’s straightforward which isn’t necessarily a bad thing but the limitations of this telling of Colette’s life is defined by a familiar quality.

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.

The Daytrippers is at its best using parody to paint an incisively humorous picture of a modern American family. We see here just how dysfunctional the typical nuclear family can be, and that "family values" aren't always the solution. Even though The Daytrippers is played primarily for laughs, there's a lot of truth lurking beneath the comic exterior.

It’s not conventionally frightening nor does it offer a cavalcade of artificially crafted jump-scares, relying instead on a deeper, more primal form of terror built on a foundation of slow-burn tension and a surfeit of atmosphere.

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

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

The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.

Famuyiwa dabbles in the teen sex comedy, the urban gangster story, and the fish out of water scenario. He gives us suspense, gross-out humor, a cute romance, and a sermon about the status of race in America.

The grandeur of Big Sky Country, captured with majesty and elegance by cinematographer Giles Nuttgens’ lenses, provides the backdrop for an intimate story of tragedy and reconnection that is no less riveting than the terrain where it transpires.

It's an enjoyable and unpretentious perspective of life that reminds us how important and rewarding the little things can be.

The film tells a compelling story with many of the elements that audiences find appealing. However, 65 years later, there’s little about From Here to Eternity to differentiate it from other well-made productions of its era.

The Bone Temple doesn't work entirely well as a stand-alone, but as part of a larger whole, it is a very good continuation of the ongoing tale. It leaves me hoping for a successful box office run so we can see how the whole thing ends.

To be sure, A Little Princess has a few missteps. For one thing, Miss Minchin could have been played with less villainy, but younger viewers will probably appreciate the one-dimensional nastiness. There are also a few moments of overt sweetness, but these are easily forgiven. Actually, there's very little this movie has to apologize for -- it's the rare kind of picture that can be enjoyed by viewers of eight, eighteen, and eighty.

So what’s the final verdict? A mixed bag. It’s a good start to a new trilogy but hardly the hoped-for masterpiece. It’s a solid space opera spectacle with enough nostalgia to overpower even the most hard-hearted child of the ‘70s and ‘80s but it relies a little too much on recycling old plot elements.

Having funny lines and amusing gags is only half the battle. The rest is in the delivery, and that's where the trio of Martin, Latifah, and Levy excel.

If there's an argument against the film (and, admittedly, it's not much of an argument), it's that the movie may not be suitably childish to appeal to younger viewers.

This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.

Although I didn’t find the film particularly noteworthy, I enjoyed visiting Paris in the late 1950s and appreciated the behind-the-scenes tour. Like many hangout films, it’s simply enjoyable to spend time with the characters, even if nothing momentous occurs (depending on one’s definition of whether the making of a classic movie qualifies as “momentous”).

Tonally, it’s closer to the Adam West television program than to any of the subsequent incarnations, although (if possible) The Lego Batman Movie takes itself even less seriously.

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

Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.

This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.

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 movie is more about the events that resulted in Felt becoming Deep Throat than his work in that role. Although not the definitive Watergate movie, it illustrates an aspect of the scandal that to this point has not been given ample attention by filmmakers.

De Laurentiis' Kong may not be a grand, glorious modernization of a classic tale, but it's two-plus hours of big-scale, occasionally-foolish entertainment.

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.

The film isn't deep or thematically rich or filled with amazing characters. Instead, it's an excursion into song and dance, and works admirably on that level.

One of Bogart’s best acting performances. It shows his range – although having normally played an “alpha” character, here he is easily manipulated by the strong-willed Rose.

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

There's nothing quite like watching Samuel L. Jackson and Bernie Mac performing at a hoedown and getting into it with the audience.

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

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

The movie never loses sight of its twin objectives: maintain suspense and emphasize a message about the enduring, pernicious power of racism.

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

Kenneth Branagh’s new, workmanlike interpretation of the tale will be met with different reactions from those who are familiar with the ending and those who aren’t. It makes a big difference.

The movie worked for me both as a commentary on the electoral process and as a slightly overcooked thriller.

Joe Versus the Volcano is difficult to review because some parts are fresh, inventive, and entertaining, while others are near-misses or even complete failures. On balance, however, I readily admit liking this movie, although the second half pales in comparison to the first.

It's as existential as a sci-fi/horror film can possibly be. It requires that the viewer slip into a meditative mood and remain there for more than 90 minutes.

Jane Eyre is good enough to provide lovers of classic literature with a reason to venture to theaters without being subjected to a salacious or demeaning adaptation.

Frears isn’t just telling a pleasant story about an unusual friendship; he’s asking us to take a look at whether we have advanced as far in 120 years as we believe we have. The question lingers after the movie is over.

For a story like this, there’s something about a purely animated approach that can’t be replicated in a live-action repetition. Nevertheless, as an alternate telling with a more mature point-of-view and a greater focus on narrative over music, Rob Marshall’s The Little Mermaid leaves its mark and Halle Bailey’s Ariel can stand alongside Jodi Benson’s.

The most notable element of screenwriter Dan Gilroy's debut feature is the performance he elicits from Jake Gyllenhaal. In the tradition of Brando, Bale, Theron, and others, Gyllenhaal undergoes a radical physical transformation to play the part of Louis Bloom.

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

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."

Although Logan Lucky works as a heist film, it neither amazes with its narrative contortions nor keeps the audience waiting with baited breath for the unveiling of some big twist.

This is a smart, adult romance that rarely panders to clichés, and gives up the heady bliss of most such movies in favor of something bittersweet.

Magic Mike takes itself seriously - not so seriously that there isn't room for a little humor, but this is not an excursion into cheesiness and gratuitous nudity.

Its video-on-demand availability makes Anti Matter easily accessible and it will reward those who seek it out.

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

The movie is loud, fun, quick moving, and features some nice acting turns.

As a family film, Fly Away Home has something for members of every temperament and age group: adventure, pathos, technical detail about the design of the aircraft, cute animals, and human drama.

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

Calling this version of Dawn of the Dead a remake is applying a misnomer. It's more of a re-imagination.

For me, The Hitman’s Bodyguard is the epitome of what a summer movie should be. There’s sufficient spectacle to satisfy the “wow!” factor, some hammy performances by actors in their wheelhouses, a half-dozen solid laughs, and a script that, if not likely to be called “clever” or “smart”, doesn’t demand a frontal lobotomy to be enjoyed.

The movie is punctuated by comedy that at times verges on slapstick but there's an underlying anger in evidence - anger at the popular mindset that allows movies like "Transformers" to flourish while artistic endeavors fail.

The film's adult leads, Naomi Watts and Ewan McGregor, give powerful, natural performances.

Heartfelt but safe. The missing element is the edgy irrelevance that elevated Crowe's best directorial efforts - "Say Anything," "Jerry Maguire," and "Almost Famous" - above their generic counterparts.

Avengers: Endgame isn’t as brash, surprising, or relentless as its predecessor but it’s a worthy conclusion to the Infinity War duology and provides a satisfying end to the First Avengers Era.

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

Halloween Kills is one of the better sequels (put it alongside Halloween 4 and H20 and a shade below the 2018 production) and contains all the elements to make it popular among horror film lovers regardless of their ages.

Gemma Bovery, which is based on a graphic novel by Posy Simmonds, possesses a deliciously sense of wit and irony.

There’s nothing momentous about The Wife but it functions equally effectively as a character-based drama and an allegorical statement about the power dynamic between men and women in pre-21st century marriages.

The vibe, if not the specifics, is highly reminiscent of "The Last Starfighter," "Battlestar Galactica," "Battle Beyond the Stars," and others. The fact that the movie's "present" is defined as being 1988 and the soundtrack is peppered with '70s tunes cements the retro feeling.

Alex is certainly worth spending a couple of hours with, even if the slow pace is better modulated for a night in than a night out.

From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.

The variation keeps things fresh and the relatively short running length (less than 90 minutes) ensures that Borat doesn't overstay its welcome - even though when it's all done, we wish this absurd man might have lingered a little longer.

Barbarians starts out as a tense psychological thriller unfolding against the tableau of a not-so-friendly dinner before morphing into something decidedly physical and creepy.

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.

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.

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

It's fascinating to see how life imitates art; the closing months of Tolstoy's life read like something he might have penned. One need not be familiar with "War and Peace," "Anna Karenina," or anything else written by the Russian great to appreciate the movie, however.

Despite various shoot-outs, dogfights, chases, and crashes, Oblivion is not a teen-friendly film. The storyline is too dense and the pacing too uneven.

Song Sung Blue is a good story—heartwarming, uplifting, tear-jerking, and chock full of a beautiful noise.

The Hunchback of Notre Dame isn't bad, it's just a little disappointing. Despite the over-hyped and overexaggerated darkness of the production, kids will love it.

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

Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.

While this is admittedly not lighthearted mainstream fare, the subject matter is interesting and is handled in a manner that offers a compelling and sometimes unsettling 95 minutes.

It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.

McFarland USA, like "Hoosiers," makes characters a priority. The film, directed by New Zealander Niki Caro, focuses on the people involved in the drama. The narrative doesn't saddle them with cliché-riddled subplots; it makes them and their concerns real.

Although the film's real-world credibility is shaky, it works on its own terms.

5x2 is a little talky and the pace is slow, but, for this kind of motion picture, it's one of the best around.

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

Happy Feet ends on an upbeat note with singing and dancing, but the weaknesses that precede it deflate the euphoria.

The DUFF would make John Hughes smile. With its mixture of wit, teen friendly situations, and heart, The DUFF feels like something that might have come out of Hughes' '80s playbook.

This may sound like Woody Allen - in fact, it often feels like Woody Allen (minus the expected helpings of angst) - but it's not. Prime is from writer/director Ben Younger and, while it's not up to the level of Allen's great romantic comedies ("Annie Hall," "Manhattan"), it's better than anything the acclaimed New York auteur has brought to the screen in recent years.

This tale of four independent sisters of differing temperaments is undeniably melodramatic, but it's very good melodrama, with an accumulation of vitality and charm that elevates the movie to an unexpectedly high level.

Fascinating and satisfying the way the diverse threads are knitted together into a single tapestry.

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.

Divergent is less action-oriented than "The Hunger Games" but no less compelling.

A paranoia-choked atmosphere is the primary reason why The Thing works as well as it does. The setup is standard stuff, establishing that the characters are isolated and can expect no help from the outside. The realization there could be an alien among them, and any one of them might not be human, is what launches The Thing into a spiral of escalating tension.

Glory Road's strength is the way in which it blends social awareness into the sports genre.

Anonymous is well-paced and never threatens to bore or become too scholarly.

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.

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.

There’s a time and a place for mayhem, and that’s essentially what Bullet Train is: two hours of fights, carnage, and witty repartee. Oh, it’s too long, to be sure – probably at least by 20 minutes. And its puzzle-like structure is too complicated for its own good. But, taken on its own terms, it’s fun and energetic as only this sort of film can be.

Eastwood has captured a peculiar yet involving slice of life.

By taking a different road, Iannucci has provided something that captures the essence of David Copperfield without being constrained by every detail.

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

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

City of Ember has almost anything one could want from a science fiction-based family adventure film: likeable characters, an imaginative setting, and a fast pace.

Enjoyable, and will likely appeal to anyone who appreciated the 2001 film.

Although the idea behind Yesterday was to craft a love-letter to The Beatles, the end result tastes a lot like a typical Richard Curtis rom-com with a generous helping of John-Paul-George-Ringo gravy.

This movie ranks as better-than-par entertainment.

Perhaps the most impressive aspect of Green Dragon is Bui's recreation of Camp Pendleton, circa 1975 (filming actually took place in Camp Pendleton).

A thoughtful, almost poetic, piece that puts forth the argument that redemption is not easily achieved.

Red Rock West is a roller-coaster ride of a film, designed for those who like their thrillers spiced with the unexpected.

Playing the love interest, Kelvin Harrison Jr. does as much as he can with an underwritten character. Ice Cube, as is increasingly the case for the veteran musician-turned-actor, steals every scene in which he appears.

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

It’s an emotionally satisfying experience that brings to life a group of appealing characters and allows them to grow and expand in front of the lens.

In essence, Control is a standard order biopic of a tormented artist. What makes the film interesting, if not unique, is the style in which director Anton Corbijn has elected to present it.

Love, Simon is charming and likeable in much the same way that heterosexual teen comedies can be charming and likeable.

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.

Clooney and Zellweger play off each other perfectly, delivering their dialogue with the rhythm of a well-choreographed dance and falling in love in the time-honored tradition of '40s romantic comedies.

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

As the movie approached the end credits, I cared about what happened to these characters, and that made the coincidences and occasional missteps forgivable.

In many ways, Godzilla is a cousin to Edwards' earlier movie, "Monsters," in that it focuses more on the ineffectual humans than the monsters.

On the whole, it works although perhaps not as well as it might have if the central relationship had more carefully established.

For anyone who wants a movie to feed their intelligence and imagination more than their eyes and ears, Pi is a solid choice.

The issue may be serious, but the tone is lighthearted, and that, more than anything else, makes Super Size Me a palatable cinematic entrée.

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

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

There's more to the film than nostalgia; it also offers insight, and that's what makes it worth viewing on the big screen rather than waiting for its Discovery Channel premiere.

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

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

Although not a word of what Powers wrote is based on reality (at least insofar as the dialogue is concerned – and this movie is all about the dialogue), it’s nevertheless a fascinating exploration of the kinds of things these four individuals might have discussed.

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

Even though the ending is inescapable (and therefore predictable), that does little to diminish its effectiveness.

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

Swing Vote marries mild satire with Capra-esque melodrama in a formula that works surprisingly well.

There’s enough variety here that everyone’s funny bone should be tickled from time-to-time.

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

Perhaps the most surprising thing about The Adjustment Bureau is that, irrespective of the misdirection of the trailers and T.V. spots, this is more of a romance than a science fiction thriller.

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

The criss-crossing between drama, thriller, and horror is nothing if not arresting. It is also unsettling.

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

For this homage, Emily, actor-turned-director Frances O’Connor uses speculation and outright fiction to fill in the threadbare historical tapestry. The result, although impressively mounted and passably entertaining, has the generic feel of many woman-centered 19th century period pieces.

Mulholland Falls isn't a bad film, but it definitely is disappointing, especially coming from director Lee Tamahori, who brought the powerful Once Were Warriors to the screen. Tamahori's direction is inconsistent, but, ultimately, this movie is undermined by its screenplay. Certain aspects are laudable, but, all things considered, those elements aren't enough to keep Mulholland Falls from slipping over the edge into mediocrity.

The film offers little more depth about the writer than his Wikipedia article and considerably less than one would get from reading the semi-autobiographical The Catcher in the Rye.

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

SubUrbia is about 95% dialogue, some of which is clever, but much of which is pointless.

Would be a thoroughly entertaining affair if it wasn't for one thing: the plot. The annoying and pointless storyline is a constant irritant because it diverts our attention from the real reason to see this movie - the easygoing chemistry between actors Tommy Lee Jones and Will Smith.

Although Rumble in the Bronx isn't Chan's best work it's still ninety minutes of solid, campy entertainment. Most of the running time is devoted to the slickly choreographed action scenes, leaving virtually no room for plot or character development.

On autopilot from beginning to end, Lay the Favorite feels like sitcom blown up to big-screen proportions. The laughs aren't raucous or numerous, the character development is sketchy at best, and the insider's perspective on bookies and gambling is superficial.

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

Admittedly, the typical romantic comedy thrives on tropes and clichés but the pandering in Finding Your Feet is so extreme that it gets old fast.

The performances of Buckley and Colman rescue much of what’s salvageable in the narrative and there’s some interest in how the truth will be revealed but the movie isn’t as funny as it needs to be for the satirical elements to work.

For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.

Raya and the Last Dragon should entertain children but adults may fidget from time-to-time and the overall impression is of something that, like many middling Disney titles, will quickly be forgotten.

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

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."

There are times when the comedy works, but the number of genuinely amusing sequences are outnumbered by those that, in trying to generate laughter, simply seem silly.

The action sequences are energetic and suspenseful but they don't always mesh well with the dramatic material.

Rules Don’t Apply is a strange, schizophrenic sort of movie. Despite moments of emotional strength and bursts of quirky comedy, the film is undone by its generally lethargic tone and the film’s insistence to shift its focus from the putative lead characters to a supporting player.

For a documentarian of Herzog's stature, Into the Abyss ranks as a disappointment.

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

Detroit Rock City possesses three characteristics: an irreverent attitude, a high energy approach, and a loud soundtrack. While these qualities don't necessarily add up to a good movie, they keep the proceedings from becoming dull.

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

There's nothing excessively problematical with The Recruit that excising the final fifteen minutes wouldn't cure.

Tomb Raider may be the most faithful adaptation of a video game to-date. Unfortunately, faithfulness to the source material doesn’t always result in the best cinematic experience and this is one of those occasions.

A clunky script that reduces the characters to one-dimensional stereotypes.

The Swan hits many of the right notes but as an attempt to be something more, it paradoxically becomes less.

Unfortunately, much of the skill and craft evident during the first hour evaporate during the second, when mayhem and bloodshed supplant legitimate scares and intelligent writing.

Here's hoping Breaking Dawn Part Two gives us more of what Part One provided in the final 30 minutes than what it forced viewers to endure to get there.

There are too many gaps in the cross-generational/cross-gender appeal for the movie to emerge as one of the 2019 summer movie season’s big winners. Some will argue this is all set-up for next year’s Kong/Godzilla rematch. After watching King of the Monsters, however, I sadly find myself less excited about that outing.

Watching Battle Los Angeles is akin to observing someone else play a video game with top-notch production values. For a while, it's fun, but immersion is born of involvement.

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.

One key missing element: the world in which this story takes place never feels unique. We aren't drawn into it the way we were with Middle Earth or Hogwarts. In fact, with all the airships flying around, there are times when it feels like an extension of Stardust.

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

The Lucky One delivers what's expected from it: a heartfelt romantic melodrama with attractive actors in the lead roles; gauzy, moody photography; a saccharine score; and all the heat that a PG-13 production can muster.

The film is sporadically amusing but gives the impression it should be generating more laughs than it does.

I am conflicted about this film. I like the fact that it takes chances. I appreciate that it's trying to do a supernatural love story without falling into the schmaltz of "Ghost." Yet I recognize that the screenplay is like Swiss cheese - riddled with hole.

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

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

In a summer of high-octane action and testosterone-boosted thrills, this movie is out of its league.

The problem with the film is that that story, hackneyed when it first made it to the screen in 1984, has grown only more tired over the past 26 years.

Hobbs & Shaw is a “classic” summer movie in every sense. It uses Fast & Furious physics (as opposed to the Newtonian kind) to amp up the spectacle element while diminishing the excitement quotient.

With this cast, this director, and this source material, I expected to be swept away on a wave of enchantment, but nothing close to that happened.

While "Love, Actually" succeeded in providing well-developed characters in (mostly) interesting situations, He's Just Not That Into You is often flat with subplots that feel rushed and/or contrived.

The ending is muddled as an unsuccessful attempt is made to provide closure to a story that, if told frankly, shouldn’t have one.

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

Grim but holds the attention; it does not, however, offer the kind of mindless action excursion that many will be anticipating.

More like the dramatization of an Encyclopedia Britannica entry than a fully rendered movie, Tolkien provides details about the fantasy author’s life and tries to explore his motivations and influences but loses sight of the character in the process.

For the most part, the documentary segments, in addition to being unilluminating, are intrusive.

Narrative weakness and bad horror tropes get in the way and Mama's ending disappoints.

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.

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

Most of the humor in Your Highness is obvious, tepid, and often crude. There are some amusing one-liners but the majority of the comedy makes one realize how brilliant "Monty Python and the Holy Grail" is.

The 1972 movie was better paced and presented a superior story but this one has its own pleasures. It's an interesting failure - a film that works more successfully as a study of technique and writing than as a motion picture.

At best, Without Remorse is a serviceable action thriller but there are times, as in the rushed and unsatisfying final 20 minutes, when such a description is overly generous.