James Berardinelli

The result is an effective portrait of a damaged individual uncertain about the meaning of love and commitment and the two key relationships in his life that teach him lessons about both.

Bright Star is a nice ode to the poet, the love of his life, and the period in which he lived.

The title character never emerges from the iconic shell she inhabits to become a fully fleshed-out individual and the filmmakers are perhaps too reverential to make her seem real. Like Camelot, she’s a mythic figure and Jackie doesn’t do enough to humanize her.

Where Happiness shines, however, is in the series of extraordinary performances given by the members of the diverse ensemble cast. Leading the group is Dylan Baker, whose turn as Bill is astounding.

Berg's picture is certainly an above average effort that provides a solid emotional punch.

It relies on gross-out scenes to earn the right to be called “disturbing” and seems more interested in delivering schlocky shocks than suffocating the viewer with suspense or dread.

At first glance, Inherent Vice might seem to be a detective story. Look a little closer, however, and it becomes clear that this is Paul Thomas Anderson's idea of a comedy. There's slapstick, lowbrow material, and enough strange characters and "completely different" moments to make Monty Python smile.

American Fiction is the best kind of satire – one that is full-throated in its message, which it delivers with a cutting edge, while simultaneously taking the time to develop the characters in a meaningful way.

It's not comfortable but it is engrossing.

This is the kind of charming motion picture that can be viewed repeatedly without ever wearing out its welcome. With several triumphant musical numbers, an original villain, a smart and witty script, a cute romance, and a new, upbeat ending, this Little Shop of Horrors offers countless delights during its 94-minute running time.

Although the level of manipulation is several notches higher than in the Swedish original, A Man Called Otto boasts fine performances from Tom Hanks and Mariana Trevino and offers the kind of crowd-pleasing arc that runs counter to the prevalent mood of worldwide cynicism.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

Possesses the rare ability to make an audience laugh (and laugh hard) and cry, without ever seeming manipulative or going hopelessly over-the-top.

Despite the occasional brutality of the material, Django Unchained includes some of the best laugh aloud scenes of any 2012 motion picture, regardless of the genre.

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

If there’s one thing that saves Us, it’s that, even as the movie descends into a narrative morass from which it never escapes, there are many individual scenes that, taken in isolation, pack a punch. The problem is that, once assembled into the larger whole, it doesn’t all work.

There is enough depth in this picture to fill up several movies, yet The Wedding Banquet shortchanges none of its interwoven storylines. While I won't go so far as to say that this is a magical motion picture, it certainly serves as excellent entertainment on more than one level.

Using gallows humor, likable protagonists, and a variety of nonstandard filmmaking techniques (like having characters address the audience directly), McKay maintains a high level of energy for more than two hours and dares us to become bored.

Moana is an entertaining and worthy way to close Disney’s 2016 animated roster.

Much Ado about Nothing is a gem of a movie - a real find in 1993's sea of mediocrity. Branagh has successfully used a mixed cast of "names" and "unknowns" to breathe life into this lavish production, and never has Shakespeare been more warmly received. I'm not sure if "feel good" has ever been used to describe a picture based on the Bard's work, but the expression fits. This film cements Branagh's status as a great director of Shakespeare, and perhaps of film in general, as well.

Grabs you by the throat and digs its claws in deep. From the moment that the unwitting viewer tumbles into the realm of Lawrence Tierney's gang of eight, they are hopelessly trapped there until the final credits roll.

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

Skyfall can take its place alongside "From Russia with Love," "Goldfinger," and "On Her Majesty's Secret Service" as the best Bond can offer.

Although there are times when the story loses its focus (mostly during the scattershot and occasionally confusing second half), the overall impression is one of satisfaction and the animation is better than anything to emerge from Japan since Miyazaki “retired.”

Despite its various deficiencies and occasionally antiquated style, King Kong remains not only a milestone of movie-making, but a magical experience.

The Scent of Green Papaya is made all the more enchanting by its simplicity.

Melancholia represents von Trier at his best and worst. Visually and thematically, Melancholia is a rich motion picture, full of nuances. Unfortunately, in his pursuit of an artistic vision, von Trier has thrown logic, physics, and coherence out the window.

It's rare for a feature film to attain the trifecta of entertaining, informing, and educating.

Imperfect, but magical nonetheless.

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

All movies have a perspective. The one presented in The Hate U Give is measured but unmistakable. The film is incisive; its manipulation is covert and strategic, engendering feeling without seeming intrusive.

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.

The best of the trio of human performers is Naomi Watts. She also has the most difficult job - not only is the role physical, but it requires her to play off something that isn't there.

Good, solid entertainment.

Clumsily incorporates elements of "Ghost," "The Sixth Sense," and "Field of Dreams."

Glass Onion is a late year present from a director who rarely disappoints.

The film is constructed in such a way that suspension of disbelief isn't too hard because there's something universal in what Allen explores. Like Santa Claus, we know it's not real but the idea is so appealing that we go along with the fantasy.

Mission: Impossible Dead Reckoning Part One is an oversized, big budget popcorn flick, with all the positives and negatives one associates with that sort of glorious but ephemeral brand of filmmaking.

Despite the many laughs Love and Death offers, it never takes cheap shots. It has a vibrant, beating heart - and that makes the comedy all the more worthwhile.

In the end, however, it’s all a rather hollow experience (as is too often the case with existential horror).

Living offers restrained optimism leavened with enough cynicism to win over those who might be less enamored of something more artificial. It’s one of the year’s best films.

There's a lot of fun to be had in watching The World's End and, surprisingly, more thematic depth than one might expect. The humor, true to its British roots, may baffle some Americans but those who "get" it will laugh quite a bit.

Kids will enjoy it and parents will be sufficiently diverted that they won’t be tempted to take a nap. It’s disposable entertainment but the receptacle in question doesn’t have to be a garbage disposal.

Nil by Mouth is as powerful as it is uncomfortable, and those in search of a pleasant movie-going experience would be best served looking elsewhere. However, for anyone who isn't bothered by the thought of experiencing a shock to the system, this film is not to be missed. It approaches a serious social issue in the best, most dramatically true manner.

Anyone who watches District 9 and doesn't think of Apartheid, Nazis, and Josef Mengele needs to spend some time reading a few history books.

The Nest is an autopsy of the disintegration of the middle-class dream and its impact on those for whom it becomes a nightmare. It’s a rumination about the fragility of happiness. It’s a modern-day horror film with a spooky mansion, a body that refuses to stay buried, and demons that haunt not the benighted halls of the house but the unsettled corridors of the psyche.

This is solid, middle-of-the-road entertainment. Slow patches aside, it finishes strong and, although it probably won’t win the box office race, it may generate some Oscar interest (because Bale is almost always good enough to warrant that sort of attention).

Ultimately, Bad Education must be considered to be a minor effort from a major director.

It may not be frivolously engaging but it is compelling.

Ultimately, this is an engaging, uplifting, and life-affirming motion picture that reminds viewers that it is possible to do interesting things with a romantic comedy while still sticking to some of the conventions.

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.

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

Despite a too-long running time of 144 minutes (the entirety of which much be endured to get to the post-credits scene), the story feels slight. There’s a strong emotional hook but it doesn’t fully compensate for all the half-baked story elements that litter the film.

This is science fiction for sophisticated audiences and, as such, a fulfilling and satisfying experience.

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.

For those who appreciate movies with a bite, Ridicule shows its teeth early and keeps them razor-sharp throughout.

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

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

Aronofsky's directorial style is simple and spare. There are no flourishes or attempts to convince us that he is a master of his craft.

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.

Certain plot elements that made sense in the original are less logical in this one, especially when one considers the differences in bonds between mothers and children and fathers and children.

Everything about it feels stale: the actors, the story, the comedy, everything. And, to make matters worse, that everything goes on for an interminable two hours.

There is sadness and humor here, but all understated.

Connie (Robert Pattinson) is one of those individuals who constantly seems to be on the edge of a violent explosion and that potential makes watching Good Time a frequently exhausting experience.

It is a rich and challenging motion picture that both affirms life and emphasizes its fragility. Eastwood touches our hearts and energizes our minds without resorting to overt manipulation.

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

Had Home of the Brave presented credible stories about believable characters, it might have been a powerful drama.

All-in-all, what we have here is classic Seagal. And that means, for anyone who isn't an admitted fan, an uninspired outing.

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

One of the best-constructed, funniest, and most clever comedies to grace motion picture screens in recent years. It's outrageous, offensive, and even a little sick -- and all the more enjoyable because of it.

The strength of Anatomy of a Fall comes from its willingness to embrace ambiguity and a lack of closure in ways that intrigue (rather than frustrate) the viewer.

Constrained by expectations and established character/plot limitations, Incredibles 2 lacks the freshness and ingenuity displayed by its predecessor. It’s good, fun family entertainment but it’s not incredible.

The Proposal follows a paint-by-numbers script, it fails one key acid test: it doesn't sell the romance.

This is no longer the James Bond we know from the '60s, '70s, '80s, and '90s. Welcome to the new world of MI6's most storied agent.

In addition to their deft skill with light drama, the directors understand well-placed humor, and throw just the right amount of comedy into the mix to make Big Night fun without turning it into an outright farce.

The movie, like the book, takes a long, hard look at the system of racial inequality that defined this time and place, and reminds viewers of the price to be paid for surrendering to our base instincts.

Lazily written and indifferently filmed, this sendup of action/spy movies rarely works as a satire and becomes downright unbearable when it attempts to do things like character/relationship building.

This film is sometimes funny, sometimes joyful, and sometimes poignant, but it's always warm, wonderful, and satisfying. Cinema Paradiso affects us on many levels, but its strongest connection is with our memories.

Of recent films, Christopher Nolan’s "Interstellar" is the best comparison. Ad Astra isn’t quite as strong but it’s in the same ballpark.

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.

Movies like this usually have something interesting to say about the human condition, but not Nine Lives. It makes an insufferably obvious observation: we live boring lives, shit happens, and we die.

In the Company of Men is anything but entertaining. It's virtually impossible to sit through this film without suffering bouts of intense discomfort, and therein lies its power.

De Niro successfully varies the tone, keeping it light and playful at times, dark and somber at others. A Bronx Tale is his triumph, and a testimony that all those years of watching the best in the business have borne fruit. If what is yet to come has any of the promise shown by this debut, we may be witnessing the birth of yet another directing talent.

The Coens have fashioned one of the best Westerns in recent years - a modern reworking of a classic that never feels superfluous.

The movie feels like Baumbach is working through some family issues.

Caused a major stir with Sundance, and for good reason -- it was perhaps the most offbeat, energetic, and eye-opening motion picture to screen there.

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.

At an economical 94 minutes, Rabbit-Proof Fence trims all the fat and tells its heartfelt and stirring story. This is one of 2002's most memorable imports.

Despite rave reviews, film festival awards, and an Oscar nomination, Spellbound comes across as little more than a marginally compelling documentary -– the kind of movie that would be at home on PBS.

Isn't loaded with promise, but at least the producers had the good sense to hire Bill Murray. Jack is the kind of irritable, self- absorbed guy that Murray can play perfectly, and the comedian's presence in Larger than Life lifts it to a considerably higher level than it might have otherwise attained.

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

A degree of unevenness is expected and that’s what Barbie delivers: a delightful confection at its best, an unfocused jumble at its worst.

It affirms that, even in the 2000s, movies do not have to be brain-dead to be exciting. When the season is over, Minority Report will more than likely stand out as the best picture to grace multiplex screens during the Summer of 2002.

The Simpsons is interested in being a family film, although this is one of those rare animated occasions when adults are the primary audience. I, for one, couldn't be happier.

Ultimately, Strange Darling left me with a little “Emperor’s New Clothing” feeling, with all the excitement coming not from the actual story but from the manner in which it is presented.

A celebration of Mr. Rogers and the healing capabilities of his words and doctrine, the movie may not be a splashy as many of the year-end multiplex stocking stuffers but the experience it offers tugs effectively at the heart strings.

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

Are French films stuffy? At times, yes, and that's one of many reasons why even the most "accessible" French movies are relegated to art cinemas in this country. Irma Vep gleefully defies such facile labeling, however. This is a sly, sexy endeavor that presents its audacious viewpoint with style and intelligence. Irma Vep features some wonderful performances (notably those of Cheung, Leaud, and Richard), that, in concert with its sure direction and smart script, make for a wholly satisfying motion picture.

A drama about isolation and communication, The Band's Visit is characterized both by strongly delineated characters and low-key comedy. The movie is not lightweight but it is at times lighthearted.

It's ironic that a film with this title should be among the most vital, alive, and challenging cinema experiences of the year.

The tone is lighthearted and the performances are effective but, in the end, the feature is so inconsequential as to leave no lasting impression.

Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.

Deep Water is a documentary, but it's also one part adventure film, one part Greek tragedy, and one part meditation on the role of the "hero" in modern society.

In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.

The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.

This is not a masterpiece, but it contains moments of rare beauty and its contemplation of life, death, regret, and memory has a subtle power.

Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.

The Old Man & the Gun’s problems relate to a lack of balance. The movie is fine when it focuses on Redford – at least until the anti-climactic final act when it loses energy and momentum – but dead-in-the-water where the other actors/characters are concerned.

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

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

Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.

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

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

The cinematic equivalent of cotton candy: certainly not unpleasant, but not especially satisfying despite the sweet taste.

Most of the time, it's just repetitive.

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.

Dealing with subjects that could easily have emerged half-baked, Lee instead applies his talent and comes up with a dish cooked to perfection.

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

The blend of quick-moving adventure, familiar faces, lowbrow slapstick, highbrow wit, and visual style offers more than one thing to just about everyone. And, with an ending that mocks the idea of happily ever after, Time Bandits concludes perfectly.

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

Like the real Eddie’s 1988 Olympic experience, however, the movie’s memory is likely to fade fast.

Although the majority of the movie focuses on the interaction between Mark and Cheryl, there is a third character in the mix. Catholic priest Father Brendan, played by William H. Macy, belongs to a liberal wing of the Church found only in movies.

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

Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.

The Muppets is a rare family film likely to appeal more to parents than to their offspring.

Liking "Ex Machina" is no guarantee of liking Annihilation or vice versa. In terms of tone, Annihilation is a close cousin to "Arrival." There’s the same dark atmosphere and bleak sense of discovery.

Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.

The movie's point, which is impossible to miss, is that it's hard being black & gay in America and, while there's undoubtedly truth in that sentiment, it doesn't necessarily make for a compelling motion picture circa 2011.

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

Pride will get viewers cheering while reflecting upon how far we have come in 30 years… and how far we have yet to go.

This role could represent a career performance for Cheadle, whose forceful and multi-dimensional portrayal keeps Hotel Rwanda at a consistently high level.

Babygirl is perhaps not as gloriously, guiltily entertaining as some of the films Reijn used as models but it offers its own pleasures.

El Cid is about as self-important as a motion picture can be. Regardless, there are still moments of breathtaking, almost transcendant splendor, when the film makers attain the grand aspirations they strive for.

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.

Coriolanus deserves to be seen, however, especially among those who enjoy Shakespeare without considering themselves purists. It's violent, bloody, fast-paced, and powerfully acted. And, if the language represents a barrier of sorts, it's worth remembering that some of the greatest phrases in history derive from Shakespeare's texts.

In its day, it provided the ultimate two-hour vacation from the stark day-to-day realities of living during the Great Depression. For 21st century viewers, the film is little more than a curiosity, although it's entertaining enough.

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

My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.

Gone Girl is a rare movie: a delicious thriller that provides plenty of titillation and gruesome pleasure while offering a dollop of social commentary. It's smart, twisted, bloody, and almost guaranteed to satisfy anyone with a penchant for the macabre.

This is a fine motion picture with a couple of superlative performances. It is arguably the best, most honest bio-pic of the year.

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

A superior horror film that offers a greater sense of disquiet than any other Dracula motion picture. Nosferatu the Vampyre may not be scary in a traditional sense, but it is not easily forgotten.

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

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

The movie eventually achieves a level of powerful drama…but only after dithering for more than an hour.

Following director Peter Jackson's powerful, true-life matricide tale, Heavenly Creatures, The Frighteners falls short of expectations by being just one of many in the long line of 1996 summer movies.

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

The movie's action largely takes place beneath the skin. The pace is slow but not glacial, yet Claudel demands patience. Ultimately, I've Loved You So Long is uplifting, although one might not expect that from the thematic material.

Contains multiple ax murders, lesbianism, incest, a hanging, and a storm at sea -- yet, despite all of this seemingly enticing material, it's a bore.

Made for the National Geographic Channel, Science Fair was devised as a television project. As such, it’s more than worthy of the time spent viewing it. The material is strong enough, however, that for those who appreciate documentaries of this sort, it’s a reasonable candidate for theatrical viewing.

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.

Mamet illustrates that he can work as capably from someone else's script as he can from his own, and that his talent as a director is not eclipsed by his ability as a writer.

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

Before Sunrise speaks as much to the mind as to the heart, and much of what it says is likely to strike a responsive chord -- a rare and special accomplishment for any motion picture.

It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

Dune: Part Two is a spectacle to behold with an underlying arc that makes it more satisfying than a 2 1/2-hour bite of eye candy.

Sayles cannily blends drama, romance, mystery, and social observation into a satisfying, if slightly overlong, whole. In the hands of a lesser film maker, this material could easily have degenerated into routine melodrama, but Sayles keeps it on a consistently high level.

The action scenes are crisply directed, brutal, and invigorating.

From the beginning, it's clear this is not a standard-order action film. It takes its characters as seriously as its chases, shootouts, and fights.

Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.

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

Even had it possessed a less intelligent script, After Life would have been intriguing on the basis of its central conceit alone. However, with Kore-eda's skillful hand behind both the camera and the pen, the result is a rewarding cinematic experience.

What the film does expertly is to weave together music, likable protagonists, thoroughly nasty villains, and a fun plot into a cohesive whole, with a result that is nothing short of magical.

This is a fun, funny trifle that deserves to be enjoyed on its own terms – a throwback that only feels old when that serves its purposes.

It’s challenging but neither inaccessible nor impossibly dense. Kore-eda invites intellectual engagement but doesn’t leave the viewer unrewarded. This is one of the year’s best movies – the third time in the last decade I have made that statement about one of the director’s productions.

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

The arrival of the uncut Godzilla is a great boon to monster movie fans, but will have limited appeal to others.

This is a simple story of human drama that provides an incentive to spend a couple of hours in a movie theater during a spring that has not provided many such reasons.

Green Room is a simple movie with a straightforward premise. The film works for two reasons: Stewart’s presence and Saulnier’s execution.

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

When it comes to tone, Iron Man achieves something at which many of even its most celebrated predecessors have failed: it doesn't FEEL like a superhero movie. Instead, it's bigger and more inclusive.

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

Tells a good, intelligent story that keeps us interested and involved.

What Selma does so well is to bring to life the events of 1965, especially "Bloody Sunday" (the first march). It's one thing to read about these moments in a history book but another altogether to see them on the screen. The movie is riveting.

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

This installment inches events closer to a merge point with 1968's "Planet of the Apes" while maintaining its own unique identity. It is in every way superior to "Rise of the Planet of the Apes."

May not have much thematic depth, but it represents two hours of pure, exuberant entertainment – an epic gangster tale rendered on a grand scale.

Although nowhere near as lush, artistic, and downright entertaining as the Warren Beatty/Faye Dunaway interpretation, The Highwaymen hews closer to the historical facts (with the climactic ambush being filmed on-location where it happened).

It's refreshing for a romantic comedy not to follow the formula by rote. I only wish I could be as enthusiastic about the amount of screen time accorded to certain characters who are more tedious than endearing.

Affliction is for anyone willing to take the journey into the heart and soul of a troubled man on the edge.

There’s something delicious about the way Hustlers delivers on its promise of glitz, sex, and raunchiness while delving far enough beneath the surface to subvert the genre.

Life of Pi is a curious juxtaposition of the mundane and the majestic; a film that strives for something grander than what it perhaps achieves.

One aspect of Let Me In that makes this motion picture unique is the sense of pathos underlying the various relationships.

Yes, Fences suffers somewhat from the bare-bones transferal of the “action” from stage to screen but the material is so compelling that viewers can easily lose sight of the movie’s “play nature.”

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.

The movie is at its best when it feels like a Vatican riff on 12 Angry Men, a concept that is enough to keep things flowing smoothly until the frustratingly “Hollywood” events of the final 20 minutes.

Mother delights in confounding viewer expectations. In fact, just when you think it's over, a couple of plot developments remain lurking around the next corner.

This is one of those unusual films that is capable of enthralling those under twelve while not sending older members of the audience rushing for the exit.

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

Die-hard fans of Witherspoon and the romantic comedy genre will probably find enough to like in this film to make it worth a trip to the theater. Everyone else would be best served by spending their hard-earned money on something else.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

The storyline is so infantile that it will appeal to young kids.

This mean-spirited and unpleasant production is unlikely to find favor with many either inside or outside of Elvis’ fan base.

Has as much depth as it has energy and action.

The look and feel of Black Swan, which captures the essence of a major New York ballet production, is one of Aronofsky's great successes.

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

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.

It is a triumph, and one of 1998's few "don't miss" motion pictures.

Kaufman once again reminds us that, without a Jonze or a Gondry to shape and prune the writer’s constructs, we’re destined to become stuck in a frustrating morass of eccentricity and self-indulgence.

This is a movie to be savored by those who are familiar with the work of Glenn Gould, and an opportunity for those who aren't to explore the essence of a rare musical genius. It's an eclectic film, and an astonishing portrait.

The film's dramatic underpinning and the way it addresses impending empty nest syndrome are solid but the comedy varies from mildly amusing to achingly awful.

"28 Days Later," while not terribly original, was suspenseful and involving. 28 Weeks Later is neither. The characters aren't as sympathetic or interesting.

Under the relentless glare of the Midnight Sun, the only darkness is in the hearts and actions of the characters.

The film’s characters are as recognizably human as they are oddballs and the narrative arc could be loosely described as a coming-of-age story for a thirtysomething woman who exists in a state of extreme arrested development.

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.

It delivers on everything it promises, from the modern day reverse-Cinderella fable to a fabric of low-key humor. [Review of re-release]

Taken as a whole, it’s excruciating in ways that few would consider enjoyable.

Top Gun: Maverick is one of those rare breeds: a sequel that’s better than the original.

Like a rom-com that spends the first half getting the characters together before showing the ugliness that sometimes happens when “happily ever after” becomes impossible, Blackberry depicts the unraveling that occurred at the back end. It’s a fascinating motion picture that gives life to Paul Harvey’s famous phrase: “Now for the rest of the story…”

Gas Food Lodging deals with issues, but its strength lies in the characters that struggle at the heart of the story. Anders has made this film far from the glitz of Hollywood and the money that comes with the limelight. Hopefully, for her next project, she'll be able to maintain the gritty quality which makes her debut such a memorable effort.

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

Although Mc Carthy’s style is critical to the movie’s effectiveness, he doesn’t abandon the story in its service. Instead, he crafts a plot that is intriguing and engaging and caps everything off with a satisfying ending.

The Witches feels like a throwaway feature rather than a fully-realized fantasy adventure.

There are also plenty of background sight gags that often go unnoticed on a first viewing.

In fact, the title of this motion picture is quite apt -- Mimic does an excellent job of imitating not only Aliens, but several other science fiction and horror features, including such odd choices as Leviathan and The Thing. The derivative result is, as one might expect, moderately entertaining, but far from groundbreaking in its approach or execution.

Glory is, without question, one of the best movies ever made about the American Civil War.

Viewed from a purely narrative perspective, Castle in the Sky is a fun, engaging two hours. Miyazaki knows how to keep things moving without belaboring certain scenes. He doesn’t speak down to his audience and isn’t afraid to mix in exposition with action.

Time Trap is a superficially entertaining science-fiction action/adventure film that might have worked better had it focused more on the “science fiction” elements and less on the halfhearted “action/adventure” ones.

A Bug's Life, like “Toy Story,” develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure.

This is a bad film - at times it’s nigh unwatchable - but that doesn’t matter in the grand scheme of things.

Whether your political persuasion is Democratic, Republican, or somewhere in between, The War Room offers a fascinating insider's look at the turbulent 1992 Presidential campaign. Anyone with any interest in politics or elections will be engrossed, so it's a pleasure to note that the directors plan a followup in 1996.

Manages the task of being both heartbreaking and heart-warming.

We don’t see many movies like Gloria Bell these days. Simple, adult character studies with major stars have become a rarity in today’s movie climate. Gloria Bell is sedate in its approach – it tells a story but the narrative is devoid of sensationalistic happenings and manipulative melodrama.

Blue Jasmine is an exercise in examining the lead character's mental degeneration. The end result, a performance-driven character study, offers an experience more akin to what one might expect from the late John Cassavetes than from the still very much alive Woody Allen.

Horror isn’t for the faint of heart. It’s not a child’s genre. It isn’t meant to be comfortable. In fact, I’m hard-pressed to think of a recent movie that’s as uncomfortable and disturbing as It Comes at Night.

Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.

Those who don’t appreciate films built on the simple foundation of two characters (mostly) talking for the entire running length aren’t going to enjoy what Good Luck to You, Leo Grande is selling, even if sex underlies nearly every passage of dialogue. The movie is funny at times and touching at others but it’s never especially erotic (nor is it intended to be).

John Wick Chapter 4 has its high points, including a well-earned ending, but it’s characterized by an exhaustive repetitiveness that diminishes what was so good and unique about the first two installments of the series. The time has come to put John Wick to rest.

Those who are familiar with Bourdain from No Reservations or Parts Unknown will appreciate the opportunity to peer through the different facets of Neville’s prism. Those who don’t know Bourdain from Emeril Lagasse may not find Roadrunner as compelling but are likely to enjoy the warts-and-all approach employed by Neville in examining Bourdain’s life.

The script doesn't do a great job with either the spiritual or the physical trek, but the spectacular action sequences occur with enough regularity that strong writing isn't necessary to keep Waterworld afloat.

As a chance for Isaac to re-familiarize viewers with his serious side after spending three films in a galaxy far, far away, it’s effective. But as a character study, it’s flawed and as a narrative, it’s erratic. There are too few high cards in the movie’s deck for it to be considered a winning hand.

It's a dark and revealing movie, and, while the ending may not be upbeat enough for those expecting mainstream fare, it offers a measure of hope and a catharsis.

Quirky and stylish, but not in a manner that comes across as overly artsy or pretentious.

Wong infuses his films with style and energy. His hand-held camera is restless, always moving and shifting. The action sequences are punctuated with unusual shots and stop-motion jumps. By filming Chungking Express in such rich, vibrant manner, the director uses visual images to underscore his themes.

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

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

The director is a poet of images.

Uses drawn images to peer into the dark corners of teenage life: bullying, self-loathing, and depression.

From an historical perspective, the story is interesting because it shows a different side of the war than what we're used to observing in motion pictures.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

The Dark Knight Rises ultimately justifies its length (in fact, a good argument could be made for a longer cut) and the last 45 minutes is nothing short of spectacular. From the point where the narrative takes a leap of faith, it never lets up.

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

Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.

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.

North by Northwest is also surprisingly forthright when it comes to sexual matters. There aren't many euphemisms or double entendres in the interaction between Thornhill and Eve.

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

Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before.

The critical question for the movies' producers is whether Harry will be as popular now that his legions of stalwarts know how it all ends. The smart money would be on answering that question with a resounding "yes!"

There’s a lot here for kids to like and nearly as much to keep parents from fidgeting.

There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.

There's barely a whiff of melodrama in Chariots of Fire, which makes the film-watching experience all the more effective -- director Hugh Hudson shows respect for the integrity of his material and the intelligence of his audience. The absence of mawkish moments provides the narrative with a genuine quality that supports its factual background.

It's an ingenious premise that first-time director Jan De Bont has turned into a tremendously well-executed motion picture.

Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.

There are no gadgets, forcing Bond to rely on his ingenuity (in one scene, when he needs to breathe while submerged, he uses hollowed-out reeds as air tubes). The single car chase is reasonably straightforward. And, for the only time in the series, 007 is unmistakably brutalized, appearing bloody, beaten, and disheveled as a result.

Whedon has made the Bard accessible and that achievement places him alongside Branagh in the exclusive club of directors who can handle both superheroes and Shakespeare effectively.

It is among the most powerful early arguments in favor of a minimalist approach to filmmaking and champions the effectiveness of the close-up when used properly. It's hard to imagine anyone today arguing its place in the pantheon of Silent Olympians.

An accomplished film that uses dark humor to leaven its serious topics.

It casts a warm, relaxed spell that evokes feelings guaranteed to bolster sagging spirits.

Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.

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

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

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

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

There's enough fun to be had that it's almost possible to ignore the stupidity of the story and the cavity that replaces character development.

The movie stands out as one of the year’s most memorable experiences.

Yes, the ending is weak, and there are aspects of the story that don't stand up to scrutiny, but this is the kind of effectively-crafted, well-acted motion picture that rises above its faults to earn its "classic" appellation.

This is off-the-beaten-path movie-making that calls attention to itself by how different it is from the cookie-cutter stuff playing next door while never losing the capacity to entertain those who enter this bizarre world.

This is a solid family film material, although one suspects the children will get a little more out of it than their parents.

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.

Obviously, the primary reason to see James and the Giant Peach is for its visual splendor.

With its striking images, pervasive atmosphere, and incessant sense of dread, Nosferatu leaves an impression that proves hard to shake.

In terms of checking off the genre’s requisite boxes, You, Me & Tuscany does just enough to earn a passing grade for rom-com devotees who prioritize "vibes" over cinematic standards.

This is Diane English's directing debut, and it shows. Also in evidence is her familiarity with television. The movie is shot like a TV show, with frequent intercut close-ups.

The Day Shall Come is an angry film – funny at times but with an acidic underpinning.

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

Perhaps the most impressive feat of this film is sustaining white-knuckle tension even though the chain of events is well-known.

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

A flawed but entertaining (and perhaps informative) tale.

The pieces and parts assembled herein are familiar, but the manner in which Affleck puts them together results in an engrossing two hours of cinema.

Movie-going isn’t a civics assignment but Till is a sufficiently powerful motion picture that it offers more than a history lesson.

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

It’s an entertaining enough movie and the sound design and visual palette make a strong case for theatrical viewing (over the phone/tablet/TV alternative) but the elliptical narrative may frustrate some viewers and the lack of an epic scope make this a most atypical would-be blockbuster. Still, Peele’s name recognition is strong and the less-is-more style of the trailer has created a level of buzz. Those who see Nope might not get exactly what they’re expecting but they may enjoy it anyway.

Finding Dory is enjoyable in its own right, even if its powerful sense of déjà vu keeps it from approaching the pinnacle of the Disney/Pixar collaborations.

Christian Bale continues to amaze with his ability and range.

It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.

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

Actually three movies in one: a wildlife film about how grizzly bears behave in their natural habitat, a character study of an eccentric environmentalist, and a chilling, voyeuristic narrative of how death stalks that man.

A movie that takes the hallmarks of a great career and elevates them to new heights. In terms of tone, visual beauty, and storytelling, The Wind Rises represents Miyazaki at the apex of his abilities.

Everything about this movie feels both tired and tiring. Yes, it does a great job setting up a sense of deep unease but that quickly evaporates when it becomes apparent the movie isn’t going anywhere worthwhile or interesting, and the ending is downright silly.

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

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.

As profound and intelligent as it is moving, and that makes this memorable motion picture one of 1996's best.

With a less probing screenplay and an amplification of the manipulative elements, Broker could have been a generic melodrama. However, Kore-eda strives for something more thought-provoking.