James Berardinelli

Emotionally challenging and honest.

The screenplay feels like the culmination of all sorts of things being thrown against a wall to see what sticks. As it turns out, there's not enough.

Unimaginative horror movies are a dime a dozen, but overlong, boring, unimaginative horror movies? Those are rare. However, in Split, that’s what writer/director M. Night Shyamalan has provided the early 2017 movie-going populace.

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

The Upside of Anger belongs to Joan Allen (for whom director/screenwriter Mike Binder developed the project).

For the most part, Laggies offers an engaging portal into the life of an appealingly confused 28-year old who doesn't have all the answers and isn't afraid to admit it. Coming-of-age stories, it seems, needn't be limited to teenagers.

The Devil Wears Prada 2 is harmless enough, although it exists more as an afterthought than a legitimate continuation of a story that was fully told twenty years ago after the first 105 minutes.

One of the best things about True Lies is that it's genuinely funny.

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

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

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

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

It doesn't take long for the The Signal's promising beginning to fade into a haze that leaves the viewer exhausted and irritated.

This is a thriller with a high quotient of comedic elements or, if you prefer, a comedy with a high quotient of thriller elements. As is always the case with a production of Joel & Ethan, it's difficult to classify, but that doesn't make it any less enjoyable.

From the poor set design to the mediocre acting to the paint-by-numbers screenplay, this is TV fare at best.

The Matrix Resurrections is a waste of time and money. For fans of the series, it’s a betrayal that deserves to be ignored and forgotten as soon as possible.

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

Reaction to The Weather Man may depend upon an individual's ability to tolerate spending 100 minutes in the company of an unpleasant protagonist. There's no doubt this can be an uncomfortable experience, but it can also be rewarding for those who are willing to endure the discomfort.

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

The film is so exuberant that we don't care whether we're listening to Lou Reed's off-the-cuff comments about New York, watching Mel Gorham do a sexy dance in front of a mirror, or hearing Jim Jarmusch's ramblings on the romance of the smoking culture.

From that point on, the movie becomes distressingly predictable, with nary a surprise to be found.

Teenage Mutant Ninja Turtles doesn't so much provide brainless enjoyment as it pummels the viewer into submission. "Shell-shocked" is a reasonable description of the experience.

A Complete Unknown isn’t shallow but the screenplay makes no attempt to psychoanalyze its subject. If there’s something to be learned, it’s how uncomfortable it could be to enter this man’s orbit. His music is iconic and speaks to many but, from the first scene to the last, he remains A Complete Unknown.

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.

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

Robinson has assembled an impressive young cast comprised primarily of rappers (such as Tip Harris, a.k.a. T.I.) and fresh faces (newcomer Lauren London).

In the 1980s, this would have been deemed generic and forgettable. In the 2020s, it stands out because of its unapologetic exhumation of a partly-dormant genre.

From the beginning, it's apparent that there's something "off" about Youth in Revolt. It's not that the film is fatally flawed, but the tone is uneven, the satire is blunt, the comedy rarely generates more than feeble laughs, and the lead character never comes fully to life.

While this sort of film has its share of pleasures, it runs out of steam long before the end credits arrive. At some point just past the middle, it goes on autopilot. The glimpses of cleverness become less frequent and the movie seems more interested in upping the body count than advancing the (admittedly thin) story.

Manages to mix in a few good gags with the requisite gore.

V for Vendetta represents 2006's first memorable motion picture - a visually sumptuous concoction that combines political allegory, bloody action, and a few stunning cinematic moments into a solid piece of entertainment.

Not great fantasy, but it's on more solid ground than "The Golden Compass" and will seem less baffling to some. There's enough here to keep adults engaged, which is an important component of any motion picture that wants to be known as "family entertainment."

There's enough in the film to assemble an intriguing two-minute trailer. Unfortunately, the movie has an additional 92 minutes to fill and that's not something it's able to do with much success. The problems with Oh, Hi! relate not to its conception but its execution.

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

Despite a terrific performance by Kate Winslet and some powerful moments during the film’s final third, Lee falls into the bio-pic trap of trying to encapsulate too much of a famous person’s life into a two-hour chunk.

An inelegant melding of a bland origin story with a generic heist tale, Solo never generates sufficient energy or interest to elevate it above the level of a failed curiosity.

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

Iron Man 3 has the stuff to please the devotees and divert everyone else, which is pretty much what's expected from the curtain-raiser of any summer season.

Has a bold, inventive style that occasionally compensates for story weaknesses. And, admittedly, there's a certain visceral appeal to the action sequences.

Coulter is a TV veteran but a motion picture newcomer. His work here indicates he is someone to watch. The pacing is slow and deliberate, but the story never ceases to intrigue.

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

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

Unfortunately, the generic bio-pic structure of 42 prevents it from ever becoming something great.

A nice little mystery thriller that takes a wrong turn on the way to its climax and morphs into a slasher movie.

Tarantino keeps things moving along nicely, with a heavier dose of humor and less violence than in Pulp Fiction, but, on the whole, this movie seems more like the work of one of his wannabes than something from the director himself.

To succeed, Deception requires viewers to be both inattentive and stupid. There's not a twist in this flimsy and moth-eaten plot that isn't both contrived and transparent and not a character who hasn't been hopelessly manipulated by the needs of the narrative.

A slow, meandering misfire of a movie.

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

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

It is neither as clever nor as funny nor as inventive as the daring title might lead one to expect.

I wouldn't go so far as to classify Jacob's Ladder as a masterpiece, but it is smart and compelling and unquestionably worth a first or second look.

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.

Too few motion pictures cause us to think and feel this deeply.

Filmed in black-and-white with an eerie score by Neil Young, and using contemporary dialogue and mannerisms, Jarmusch's picture has a dream-like quality.

This is bad melodrama, complete with hammy acting and purple prose, and far too long to be even passingly entertaining. It's soap opera quality, from beginning to sensationalistic end.

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.

Catch a Fire isn't edgy like some of Noyce's previous titles nor is it a big-budget endeavor with A-list stars. Instead, it's a simple and sincere tale of inspiration.

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

It has impeccable production values but feels like a "Masterpiece Theater" production of a Harlequin romance novel.

Although the movie features strong performances and contains some individually potent scenes, the film’s style keeps the viewer at arm’s length, limiting the story’s overall power and emotional resonance.

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

For the most part, Big Eyes works because of its restraint - something rarely claimed about one of Burton's cinematic offspring.

Petersen ratchets the tension up to a level where the viewer is likely to forget the imbecilic plot contrivances that have gotten the situation to this point, and just enjoy the action and adventure.

Black Sea contains its share of fantastical elements and the ending in particular evidences gaping holes of logic and physics but, as a "refrigerator film," it works well.

As a big-budget B-grade monster movie, Kong: Skull Island is a home run. It offers all the tropes and clichés one expects from this sort of endeavor, sparing no expense when it comes to special effects. As a King Kong movie, however, Skull Island is less successful.

Despite the presence of three top-line actors and a fine supporting cast, City Hall never lives up to its promise. There's too little grit and too much predictability, and even the central character, Calhoun, is never better than half-developed. Director Harold Becker (Sea of Love, Malice) keeps City Hall well-paced, so boredom never threatens. Even so, as political thrillers go, this one stands below the likes of even Kevin Costner's No Way Out, and isn't close to the same category as All the President's Men. There's not enough substance or energy here to warrant more than a lukewarm recommendation.

In all fairness to the film, it is superior to the disappointing second movie in the series. The comedy is about as low-brow as it can get (at least without treading into R-rated territory).

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

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

Kristen Bell shines as Veronica, playing the character as a more mature version of her TV persona.

Sluggish. Torpid. Boring. Those three words (and more) can describe The Yellow Handkerchief, a stultifying road trip movie whose inept screenplay is only partially counterbalanced by a trio of nice performances.

A lively, crowd-pleasing story with heart to go along with the glitter and glitz, it’s better than a lot of what’s currently available.

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

Robert Duvall does far from his best job here. His is basically a "mail it in" performance, but, considering the script he's working from, it's no wonder. Something to Talk About is weary -- every ounce of energy and originality has long since been wrung out of this formula, and the "twist" of having the leads already married doesn't do much to spice up things. Ultimately, this "something" turns out to be nothing much at all.

I can recognize when a movie has been made for the sole purpose of generating a few cheap bucks, and that's exactly the case with The Rugrats Movie, an embarrassingly juvenile production that would seem more at home in the midst of Saturday morning cartoons than on a big screen.

I appreciate that Ponsoldt doesn't go for cheap tears through over-sentimentality, but his detached, low-key approach distances viewers from the characters. I watched the drama unfold from afar but was never involved on an emotional level.

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

Manages to remain witty throughout.

Keeping in mind the limitations imposed on the production by the running time, All the Old Knives offers a compelling (if ultimately unremarkable) spy movie that tilts more toward a drama than a conventional action/thriller.

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

The movie is ultimately more interesting in satire than the presentation of a legitimate alternate timeline. This doesn’t invalidate C.S.A.’s approach but it limits its effectiveness as a sort of Twilight Zone look at the last 150 years.

It's a movie of moments, some of which are side-splittingly funny. Arguably, this is the most uproarious comedy that Allen has ever done.

Forgettable? Yes. But good enough to provide a couple hours’ 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.

It's the kind of high energy, fast-paced film where you can guiltlessly root for the heroine to persevere -- but that's all it succeeds at.

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

If there's anything disgusting or grotesque that The Cook, the Thief, His Wife, and Her Lover doesn't dabble in, I'm at a loss to figure out what it is. This film, a wildly exuberant, bitingly satirical examination of excess, bad taste, and great acting, is the kind of over-the-top experience that will have timid movie-goers running (not just walking) for the exits. Taboos? If director Peter Greenaway has any, you can't tell by this film.

Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.

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

If nothing else, Entourage (the movie) can be considered a faithful follow-up to Entourage (the TV program). That's good news for anyone who enjoyed the series up to the end and not-so-good news for those who lost interest along the way or never were interested in the first place.

The fourth movie is in many ways better than it has a right to be and it’s certainly a worthy way to dispose of a couple of hours lying on the couch at home, but this is hardly a triumphant return for Axel or Murphy.

It might be fair to argue that Shephard overreaches with Not Okay, but there’s something bracing and fresh about throwing caution to the wind the way she does. The movie doesn’t have the bland, cookie-cutter feel of so many of the other productions that comment on the evils of the Internet.

It’s made with families in mind – the material will resonate with children and parents (thankfully) will be sufficiently engaged not to wish to be elsewhere. Unaccompanied adults, however, may not be quite as enchanted.

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.

The acting is a big part of Baghead's problem. Three of the four protagonists are played by performers who do little to distinguish themselves.

The production company is Hammer Films, a venerable name in British horror. Responsible for some of the best monster movies of the '50s and '60s, when Peter Cushing and Christopher Lee were a favorite team, Hammer has endured over the years. Now, as then, the Hammer name is an assurance that terror, not soulless special effects, lies at the heart of the production. The Woman in Black bears this out.

The level of humor is sit-com-ish at best and the film's dramatic elements are bland and uninvolving.

From a pure entertainment perspective, it is arguably the most enjoyable motion picture of the season. Sky High is funny, smart, energetic, subversive, and has a few substantive things to say.

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

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

While such a loud, brash interpretation may not go down in cinematic history as the definitive version of the play, hopefully it will open a few eyes and widen the audience willing to venture into any movie bearing the credit "based on the play by William Shakespeare."

The problem is one of tone. The Five Year Engagement, despite its serious thesis, tries desperately to be funny. Some of the comedic material provokes laughter and some doesn't, but nearly all of it feels wrong.

Reynold’s charisma and some solid gags hold things together for a while but the movie ultimately comes up short despite its promising premise.

A rare remake in that it's sufficiently different in the details to make it of interest to those familiar to the earlier endeavor.

Empire of the Sun remains a solidly engaging story of heroism in the face of adversity, as filtered through the eyes of a boy obsessed with planes and flight.

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.

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

Using parody as its means, Fear of a Black Hat has a lot to say about the exploitation that surrounds the rap music business. This movie is not tightly-scripted or elegantly produced, but it is (for the most part) highly entertaining. For those who have been waiting for a sequel to Spinal Tap, this may be the best alternative.

The movie offers limited entertainment for those who enjoy this sort of fare but it’s impossible to recommend as anything more than a throw-away at-home selection when all the better streaming titles have been watched.

The only thing of real importance in A Man of No Importance is Albert Finney's performance.

Marshall, who helmed the underrated horror film, "The Descent," has a flair for the visual. Some of the mountainscapes, captured by use of a helicopter, are nothing short of spectacular.

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

It's the most disappointing thing to come from the brothers in years.

A charming piece of cinema that takes several comfortable formulas and expands upon them in ingenious and emotionally-satisfying ways.

It's still a lot of fun, and I welcome any film that keeps me entertained for nearly the entire running length.

Bug is creepy and hard to dismiss, but it's not a lot of fun and its weaknesses leave a bitter aftertaste.

Dream Lover is a classic example of a movie setting up its viewers. Half the fun lies in recognizing that at the end. Artsy dream interludes and some rather silly dialogue mar the production, but these things fade into near-obscurity in the face of the climax. Dream Lover will never be considered a classic, nor even a particularly memorable example of its genre, but that won't stop those who watch it from enjoying themselves -- even if that means playing into writer/director Nicholas Kazan's hands.

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.

It's easy to nitpick Abigail’s narrative. Parts don’t hold together well, there are significant plot holes, story elements violate just-established rules, and (in true horror movie fashion) characters sometimes make head-scratchingly stupid decisions. But, for those willing to overlook these often-familiar conventions, the movie is gorily diverting.

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

Whatever the reason, the characters often seem only half-formed and there's a strange artificiality about the entire endeavor. Egoyan has never been a realist, and his style has contributed to his ability to deliver a knockout punch. Here, that punch is missing.

It is not as engaging as "The Royal Tenenbaums," but about on par with "Rushmore" and "Bottle Rocket."

Paradoxically, there's a lot less gore. There is blood, of course, but nothing excessive by slasher-movie standards, and there are no depictions of spilled entrails. Craven has remembered that scares are more important that graphic displays of human insides and bodily fluids.

This is strictly B-movie fare. It tries to do some of the same things as "Kiss Kiss Bang Bang" and suffers as a result of the comparison.

A cut above the average politically-based thriller.

The movie isn’t quite as unhinged as the trailer indicates but it’s far enough off the beaten path to provide enjoyment for those who enjoy their blood & guts served with a twist.

A little youth is injected via "Slumdog Millionaire's" Dev Patel and Tena Desae, but they are supporting players. Still, as one might expect from a group of actors in this age range, the performances are impeccable. Experience does count.

When Interview with the Vampire works, it's as compelling and engrossing a piece of entertainment as is available on film today. When it falters, the weaknesses seem magnified.

It’s supposed to be a screwball comedy but someone forgot to include the laughs.

Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.

Those who love to cry at movies will doubtless get their money's worth from The Man Without a Face. Others, I imagine, will discover in this movie what I did: a curious mixture of scenes that work and situations that seem hopelessly contrived or overly-sentimental. I didn't hate the film, and after the jarring first half-hour, it kept my attention, but The Man Without a Face never strays far from familiar territory.

Contact is that rare big-budget motion picture that places ideas, characters, and plot above everything else.

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

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

Anyone who understands what The American offers should come away pleased with the final product.

2 Days in New York splits its time between being a quirky comedy and a quasi-serious drama. Comparisons with Woody Allen may be inevitable, in part because of the setting, although none of the characters in this film are neurotic enough to match vintage Allen.

A thoroughly enjoyable piece of cinema that does credit to its director and cast.

After a strong start, Stop-Loss becomes driven by a series of contrivances before falling prey to bad melodrama and even a little cheesiness.

How to Train Your Dragon represents solid family entertainment even if it feels like it’s tracing over an existing pattern rather than developing something new.

De Niro pulls the viewer into the world he has created and holds him there, sometimes spellbound, until the story is over and the end credits roll.

The film has its share of high points, but the flaws are frustratingly obvious and impossible to overlook.

Mechanical and artificial, and tells you what to think.

The film is worth seeing for the humor and for its high level of energy, but it falls short of being the "complete package." It's probably a better pick for home viewing than a trip to a theater.

Aside from being a showcase for up-and-coming action star Jason Momoa, it offers little else of note.

After a slow-burn first hour, the movie cranks up the octane with plenty of blood, guts, and bullets. The final 20 minutes feel a little sloppy, with one twist too many and an unfocused ending that may be optimistically hinting at a sequel, but everything else is solid.

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.

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

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

In truth, this feels more like a half-baked comedy sketch stretched far beyond its breaking point—until even the last traces of humor have leaked out like the gooey innards of a Stretch Armstrong toy that’s been tortured by a sadistic kid.

Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

Land is both a tribute to the triumph of the human spirit and an examination of the difficulties of setting aside modern conveniences for primitive survival. It also represents an announcement by Wright that her first feature foray behind the camera is unlikely to be her last.

There are times when it is bitingly funny and times when its bloodiness can cause a wince and a shudder - but director Stuart Gordon is not adept at blending the two extremes into a cohesive whole.

Perhaps the most compelling reason to see Sunshine Cleaning is the pairing of two of the best and most charismatic young actresses today.

Cinematic magic.

Arguably the best baseball movie ever made. The film works not because it is flawless in its depiction of what transpires on the diamond (more on a significant mistake later), but because it captures the spirit of the game at a time when baseball truly was the National Pastime.

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

Taken as a whole, the approach doesn’t work and ultimately comes across as more off-putting than successful.

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

In large part because of a great beginning and a solid ending, this is one of the better entries into the series, at least on par with Final Destination 3 and 5 and far and away better than the others.

The strongest, most consistent performance is provided by Sam Rockwell, who displays a wide and convincing range of emotions.

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

The characters in Brick Lane must define themselves and determine where "home" is before they can move forward, and that dramatic conflict lies at the heart of this motion picture.

This is as good as spectacle moviemaking gets: old-fashioned in intention but fully modern in execution. It may not stand quite as high as its two predecessors, but the fall-off is neither extreme nor precipitous.

As high camp, Willard might have something going for it, but not as a horror movie.

One could easily argue that, like many Ed Wood-type bad movies, The Faculty might be headed for the cult classic shelf in the video store. Unfortunately, it's not campy enough, and, worse, it seems to think it's being hip when it's just being dumb.

This latest version, made with the MTV generation in mind, is arguably the least impressive of the filmed Counts.

Oleanna probes deeply into some of the darker facets of human interaction, and anything with this keen an edge will cause discomfort. Three out of four "characteristic" movie-goers are likely to view this as a bad movie (too slow, too pedantic, too stilted). Oleanna, however, is no more intended for that crowd than are they for it. This film has been made for those willing to look beneath the surface to see a taut, intellectual sparring match where there is no absolute truth. For such an audience, this picture will leave an indelible imprint.

Broken Arrow is "Speed" gone nuclear. Yet, despite all the explosions, violence, special effects, and other choreographed excesses, this film doesn't have quite the same impact. It's fun, to be sure, and the wild ride doesn't let up for a moment, but the level of tension isn't quite as high.

It's tough to make a good tearjerker - one need look no further than this misfire to understand why.

An unconventional heist film in which a majority of the action occurs after the loot has been liberated, Triple Frontier features impeccable photography, strong acting, and well-staged action scenes that ooze tension.

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.

Anchorman 2: The Legend Continues could easily be called Anchorman 2: More of the Same.

The Wolf of Wall Street joins "After Hours" as the most openly comedic films Scorsese has made.

One of those rare films whose historical impact outweighs its quality. It's a good film, but not a classic. Yet, although little more than a socially conscious, well executed science fiction adventure film, Planet of the Apes arrived in theaters at just the right time to capture the country's imagination.

Babylon is uneven, to be sure, but any missteps are more than compensated for by the exultation derived from the moments of frenetic exuberance that have become Chazelle’s bread-and-butter since he exploded on the scene with Whiplash and took La La Land to the brink of an Oscar victory.

Skincare feels like it wants to be a screwball caper movie but the comedy gets lost along the way.

A somewhat lackluster cop buddy movie that goes wrong in two big ways: (1) it fails to utilize Chan's full range of skills, relegating him to the role of a kickboxing action hero and virtually ignoring his comedic aptitude, and (2) it saddles him with a partner, played by the irritating Chris Tucker.

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

I didn't feel strongly one way or another about The Kings of Summer. It's too innocuous to actively dislike but there's nothing memorable here. The characters are bland; the comedy, while occasionally eliciting laughs, is lukewarm; and the relationships never gel.

It's the kind of film that will resonate only with a tiny fraction of the available audience. Unless a viewer's age and situation mirrors that of Posey's Nora Wilder, odds are that this movie will generate a sense of déjà vu.

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

The dialogue -- especially that between Roy and Frank -- crackles with wit and intelligence (a rarity in films these days).

It's not edgy or groundbreaking, but it tells the story it sets out to tell. For what it is, Kosminsky's picture is polished and effective. If only the movie had taken more risks or possessed a keener edge...

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

The Informers is nihilism for nihilism's sake; a bleak and borderline-unwatchable collage of misanthropes, self-absorbed a**holes, and pathetic weaklings as they struggle to move forward during the early 1980s in Los Angeles.

Watching The Sense of an Ending, I was struck by the realization that this should have been a good movie. Unfortunately, as is too often the case, something didn’t translate from the written page to the big screen.

Using black humor, blood, and a pair of tremendous performances, Freeway hones in on its targets and calculatedly skewers them one-by-one…This movie is both grimly funny and thought-provoking.

The film contains some of the most exhilarating action sequences ever to reach the screen, a touching love story, and a nice subplot that has agent 007 crossing (and even threatening to resign from) Her Majesty's Secret Service. The problem is with Bond himself. Following Sean Connery's departure after You Only Live Twice, the film makers had to come up with a replacement. The man they chose, a model named George Lazenby, is boring, and his ineffectualness lowers the picture's quality.

The film is far from perfect - the soundtrack occasionally chooses the wrong songs, there are times when the acting (especially by the supporting players) falters, and there are scenes (most of them throw-ways) that don't work. Aside from jump-starting so many promising motion picture careers (including Crowe, Heckerling, and members of the cast), Fast Times will always be remembered for one thing: showing respect for and insight into the members of its core audience, something that was as rare in the 1980s as it is today.

Isn't terrible. It's just disappointingly superficial -- a movie that has all the elements necessary to be a fascinating, involving character study, but never does more than scratch the surface.

"Magic Mike" was self-contained, made with no expectation of a second chapter - and they prove unable to surmount it. Too many elements that made the first film an enjoyable experience are missing.

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

Easily the best non-Disney animated movie in recent memory, and it is good enough to rival such titles as “The Lion King” and “Aladdin.”

The problem with The Soloist is that, while Wright shows admirable restraint in dramatizing the interaction between the two principals and does not fall into the trap of following a "movie of the week" formula about mental illness, there is little emotional resonance in the story.

If Madagascar 2 is the best Dreamworks can provide to go toe-to-toe with Pixar's beautiful WALL*E, then it's game, set and match to the Disney subsidiary.

Vice feels like a documentary-wannabe that never achieves whatever it’s trying to do. It rehashes events and information that have long been part of the public record and, despite the abundance of acting talent at director Adam McKay’s disposal, none of the characters achieve escape velocity.

The movie spends perhaps too much time on the planning of the caper and too little time on its execution, which turns out to be on the underwhelming side. It’s also not terribly exciting.

Sleeping Beauty is one of those self-consciously artsy motion picture that promises more than it delivers.

While it’s easy to quibble about the choices of omission and inclusion made by screenwriter Tracey Scott Wilson and whether a more adventurous, unconventional approach might have been a better fit for the central character’s personality, Hudson renders such criticism moot. Her performance as Aretha Franklin is more than worth the price of admission.

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.

If there's a complaint to be made, it's that the humor could be less scattershot.

The plot is straightforward and predictable to the point of painfulness.

Without the impressive photography and energetic action sequences, Blue Crush would have been a lot worse. But, if the filmmakers had invested in real characters instead of cardboard cut-outs, it would have been a lot better.

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.

Immaculate is at times unsettling and the ending contains a strong shock element but the movie as a whole feels a little too familiar to engage its audience.

Vintage Moore, which means that it will enthrall many and enrage an equal number of viewers.

The story as a whole seems stale and overly familiar.

She's So Lovely isn't a flawless production, but it's a fitting tribute to John Cassavetes, and a reminder of the many ways that a woman can be under the influence.

A clear case of a narrative running out of steam. Exhaustingly repetitive, this movie attempts many of the same things its predecessor did but with less succes.

Transporter 3 is the most frustrating entry into a series that has never set the bar terribly high.

As coming of age stories go, Wah-Wah does little to distinguish itself.

"Entertainment" is in the eye of the beholder. For me, watching Fast & Furious 6 was more work than fun.

Unfortunately, this is also among the weakest of the early Bond films, although Connery is in peak form.

The inevitable sequel, arriving three years later, isn't as giddily entertaining as its predecessor but much of the charm remains, making this an ideal destination for a family excursion.

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

Ransom isn't a bad thriller, it's just not a great one. There's a little too much pointless running around, a subplot that leads nowhere, and a certain creeping predictability that argues for a shorter running length.

Extract is no masterpiece, but it's considerably better than many 2009 films that have received a more robust backing.

It's disposable entertainment at its most extreme.

The Brown Bunny is one long, self-indulgent bore topped off with a hard-core porn scene featuring Gallo and co-star Chloë Sevigny.

At times brutal, at times touching, the movie stands out as one of the better "prestige" productions offered for cinematic consumption during the waning weeks of 2007.

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

The film comes across like a soap opera and there are too many characters and storylines for any one of them to grab the heart and imagination. The film isn't painful but it is disappointing.

The Incredible Hulk is a more traditional superhero movie than its predecessor and should please those who want their not-so-jolly green giant served with helpings of action. This film provides less talk and more smashing.

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

The writer/director may have a deep understanding of his material, but Mr. Jealousy doesn't offer anything original or remarkable, and, while what the film is saying often strikes a responsive chord, that alone isn't enough to earn it an enthusiastic recommendation.

This is the one Godzilla movie in which the title character plays second fiddle to the humans. While the film's moral and ethical situations are interesting, they are not as compelling as the film's adherents would have us believe, and their resolutions are simplistic.

The primary sin isn’t that Blue Beetle stinks the way really bad movies do but that it is so deeply mired in mediocrity that it’s tough to find a reason to care about its existence.

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.

Carnage suffers from a common problem that afflicts many stage-to-screen adaptations: too much artifice and contrivance.

The movie is never boring or uninteresting, but I viewed it from a detached perspective, unable to become involved because I didn't really care about any of the three main characters.

The sex is REALLY hot. Not hardcore pornographic (at least by my definition of the term) but close.

Louder, flashier, and more hollow than anything else out there.

Unlike its predecessor, this is not a light, mystical romance, but a somewhat muddled narrative that ends up resembling an offbeat action/adventure movie. It's still a film about issues -- humanity, the soul, time, and Nazism -- but it lacks many of the "art" aspect of Wings, relying more on straightforward storytelling.

Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.

Scream VI offers two hours of fan service while serving up enough gore to appeal to many generic slasher/horror movie aficionados, but there’s not much beyond that.

To really work, The Bourne Legacy either needed to turn the title character into a 007-type who can change his face or bring back Damon in some capacity, even if just for a cameo. Neither happens and that works to the movie's detriment.

Blomkamp's universe is a fascinating place to visit and the movie is stuffed with ideas - there's far too much here to satisfactorily explore in 109 minutes, especially when one considers that room must be made for action scenes. I departed the theater satisfied with what I'd seen but wanting more.

Too often, Boynton Beach Club feels like a made-for-TV movie with a little sex, nudity, and profanity thrown in to spice things up.

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

Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.

Three-fourths of a good horror movie and one-fourth disappointing. The film, constructed as a series of episodic vignettes connected by an umbrella story, remains solidly engaging until it gets to the ending.

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

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.

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.

I’ll be the first to admit that not everything in Saltburn works and, during some of the cringe-inducing instances when it fails, it does so rather spectacularly. Yet Emerald Fennell’s film is just bonkers enough to be wildly entertaining and completely disturbing in equal parts.

Fast-paced with a morbid sense of humor and copious pop culture references, Kingsman breezes along at a nice clip until it gets a little bogged down during its final third.

The movie starts with a series of kaleidoscopic, high-energy scenes that prove to be Birds of Prey’s high point. Even in these early moments, there’s a sense that narrative isn’t going to be a big selling point for this movie and those misgivings prove to be correct.

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

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

What we have here is enjoyable, if somewhat scattershot, and at least as entertaining as what’s airing most Saturday nights at 11:30 pm.

The movie wears thin its welcome a couple of reels before Apatow has finished telling his story.

It’s a well-made, serious drama arriving in an era when those qualities rarely describe multiplex fare.

A fascinating portrait not only of a lady, but of the society and marriage that entrap, then attempt to destroy, her.

The way it has been presented, with forced and artificial junctions, keeps the viewer at arms-length from the story and creates questions about the historicity of some scenes.

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

All These Small Moments offers a mix of honesty and artifice. Some of the scenes simmer with truth; others are too obviously the construct of a screenplay.

It’s easily digestible and, although some of the less successful elements may try the patience from time-to-time, the companionable chemistry – screwball banter mixed with romantic frisson – between Bullock (who’s much better in this sort of part than her more serious outings) and Tatum smooths out many of the rough patches.

An entertaining thriller. That said, it's the weakest of the films, falling a length or two behind "The Girl Who Played with Fire," and considerably more than that with respect to "The Girl with the Dragon Tattoo."

Offers two hours of solid entertainment.

The movie is generally entertaining, if only because the three primary characters capture the audience's sympathy, but the story doesn't contain much honest drama.

The Devil's Advocate is a highly-enjoyable motion picture that's part character study, part supernatural thriller, and part morality play.

Spectre is the most “traditional” of the Craig Bonds. Although a little light on gadgets, it has everything else,

Nothing short of a disaster -– easily one of the worst movies of the year.

I suspect that mainstream audiences will find plenty of things to take pleasure in, even though some viewers may be bewildered by what the Coens do. But for those who share my taste in comedy, this is a must-not-miss.

This movie ranks as better-than-par entertainment.

This is a mediocre horror/comedy that deserves neither high praise nor disparagement.

Putting aside any long-term implications, The Multiverse of Madness is a frustrating mix of eclectic elements that at times feel more like Raimi referencing his Evil Dead movies than his previous superhero work. It’s undeniably fascinating and at times exhilarating but my overall feeling is one of vague disappointment.

This movie is built to be consumed, forgotten, and replaced — a product, not an experience.

It's tame and rather bland, and the laughter it generates is half-hearted. Director Jesse Peretz commits the unpardonable sin of wasting the considerable comedic talent of Paul Rudd.

Here’s hoping the movie finds its audience because it’s one of the freshest and most audacious films available in this year’s sparse cinematic landscape.

One of the most refreshing things about this movie is the manner in which it combines genres in unexpected ways.

This is post-apocalyptic adventure as imagined for a teen crowd, and what it lacks in depth it makes up for in action. With a slight running time of 80 minutes, 9 doesn't contain an ounce of fat on its animated bones.

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

Like many entries into the genre, Jagged Edge works best when it's watched with a minimum of analysis. There are a fair number of gaffes, flaws, and other assorted problems, and the plot looks progressively less substantial the more closely it's examined. However, the bottom line is that the crux of the story - whether or not Jack is guilty - is engrossing, and it isn't until we know the answer that the movie really seems to let us down.

In terms of humor, See How They Run is more amusing than outrageous. Outside of the few instances of slapstick and physical comedy, it is designed to generate smiles (rather than provoke belly laughs). The script is clever and silly at the same time. (That may seem contradictory but it’s not.)

Kill the Messenger is compelling material but the recognition that the core of the narrative is based on true events gives it additional power.

It feels incomplete and the ending is entirely too convenient.

One of those pleasant movie-going experiences that doesn't offend, excite, or challenge anyone. There are all sorts of likable things about it.

Wolfs is a pleasant enough experience. At 108 minutes, it’s not too long and, putting aside the aggravating manner in which Watts ends the story, it goes down easily.

Put The Angry Birds Movie 2 into the basket of sequels that no one was asking for.

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.

The Clearing is being positioned as "adult counter-programming" for the summer season, but the benefits of seeing this movie may not be worth the patience necessary to get through it.

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.

The film’s biggest problem is its uneven pacing.

This film is aesthetically pleasing but not emotionally satisfying. It's occasionally erotic but rarely dynamic.

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

The film has lofty goals, but comes across as leaden and pretentious. It's a character study in which the lead participant is the least interesting person in the movie.

If there's a serious disappointment, it's the villain. Ma-Ma, despite being played with over-the-top zest by Lena Headey, isn't a very impressive foil for the mighty Judge Dredd, even when she calls for "back-up."

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.

If Scream is intended to re-start the franchise, things are off to a rocky start. This is what happens when Hollywood refuses to give up on a series that has run its course.

Had there been more to Lightyear than a retread of sci-fi cliches with a beloved character, I would have been less disappointed.

The film gets frequent laughs from its raunchiness but, underneath it all, there’s an emotionally resonant story of how children confront the demons of youth that guard the gates to adolescence.

In the Land of Saints and Sinners is a clear, unqualified improvement over such recent Neeson-led thrillers like Retribution and Blacklight. And, although one can argue that his once-prodigious talents are wasted in cash-grab projects of this sort, at least the movie provides 90 minutes of entertainment rather than turning into a by-the-numbers slog.

The latest motion picture to take an intriguing premise and flush it into the septic tank.

It's not bad enough to walk out on but neither is it good enough to walk into.

The cynic in me believes this movie may have been constructed primarily for end-of-the-year plaudits because there doesn’t seem to be another compelling reason for it to exist.

It wants to be funny, charming, scary, and dramatic. It ends up being a little of each but not successful as any one.