James Berardinelli

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

Marty Supreme is a flawed beast—occasionally irritating, sometimes shallow, and undeniably exhausting. But that exhaustion is the point. Safdie drags the audience through the wringer not to punish us, but to make the final release that much sweeter. Driven by Chalamet’s fearless performance and a directorial style that refuses to blink, the film leaves an impression.

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

The result is an entertaining and sporadically engrossing two hours.

Is Lee preaching to the choir? Perhaps but those not already in the fold who give the film a chance may discover that the things Lee is saying are hard to disagree with regardless of your race, creed, or color.

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.

The story is engaging and McCary provokes an emotional response with his careful and nuanced handling of the main character’s mindset and situation.

By turns sad, frightening, and inspirational, the movie is impeded only by the difficulty of bridging the 25-year span between segments and accepting the older lead (Dev Patel) as a replacement for his younger self (Sunny Pawar).

It's almost unfair to make the comparison because there are so many fundamental differences, but the closest recent movie to Romance and Cigarettes is "Moulin Rouge." The key likeness is easy to spot: the characters spontaneously break into familiar pop songs.

Sweet and light. It's a celebration of cultural diversity and an affirmation that, despite differences in race, religion, and societal norms, people are essentially the same.

Fair Play is a tidy, engaging thriller. It asks questions about the male ego and some of the difficulties faced by women ascending the ladder of power in a traditionally male-dominated field. But, although the movie has a message, it isn’t about the message. Instead, this is a tragic love story that devolves into something darker and, although it doesn’t qualify as a white-knuckle sort of movie, it exerts a magnetism that’s difficult to turn away from.

Anything Else may not be the second coming of "Annie Hall," but it has more wit and substance than almost every post-college romance that sees the inside of a projection booth.

Miracle is inspirational and uplifting -- qualities we are as much in need of today as we were during the winter of 1980.

This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

As a means to bring a classic novel to the attention of a modern audience, McGrath's Nicholas Nickleby is a success.

What Dreams May Come has the sensibilities of an art film placed into a big-budget feature with an A-list cast.

With its appealing blend of animated comedy, romance, and adventure, Shrek 2 follows the formula of its predecessor while maintaining enough originality not to come across as a direct copy.

An incomplete memoir with spotty character development, but, in part because of the way it was filmed and in part because of the strength of the cast, it's still an effective entertainment.

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

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.”

Philip Seymour Hoffman is in fine form as a man teetering on the edge.

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

It's better than most dramas showing in multiplexes.

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.

One possible misstep along the way is Willem Dafoe’s narration – it’s too wordy for the material and doesn’t quite work. Still, that’s a minor quibble about an otherwise dead-on portrait of a lost soul who may never quite find herself but who makes an uneasy peace with what the world has made of her.

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

While the sluggish beginning and ending mar this Star Trek outing somewhat, there's still enough here to please fans of the series, and, to a lesser extent, movie-goers in general.

Winter's Bone is a welcome reminder that thrillers don't have to be loud and boisterous to grab the attention and keep it captive.

Although at times fictionalized to make for a more cinematic retelling, the movie is largely accurate and rigorously avoids exploitation.

Although narrative aspects of A Good Person occasionally veer into areas that are either cliched or artificial, many individual scenes are effective (at times powerful).

May be the best family movie of the 2002 summer film-going season. There's a simple reason for this - the picture seems to have been put together with the recognition that some members of the audience may be above the age of ten.

I don’t for a moment believe the film has widespread, mainstream appeal (hence the decision of Disney-owned Searchlight Pictures to bypass theatrical distribution in favor of a Hulu premiere) but for those who enjoy stews that mix warped comedy with twisted horror, it hits the spot.

Sex Drive's first 30 minutes may lead one to suspect there's nothing new to be seen here, but it undergoes a transformation once the preliminaries have been dispensed with. John Hughes would be pleased - and so also might Judd Apatow.

Every time An Ordinary Man seems to be headed into a minefield of clichés, it takes an unexpected detour and the film’s final such excursion comes like a gut-punch.

The chief pleasure to be derived from watching Cold Souls is that it's a journey into the unexpected.

It is involving and entertaining, and features an intriguing, independent heroine.

The two actors, Daniel Day-Lewis and Emily Watson (Breaking the Waves), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction.

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.

Romanticizes gangland Chicago, but no more so than other films set in the same period. And, like almost every movie about the mob, this one deals with themes of family, loyalty, and betrayal -- albeit without the intensity of some of the great ones ("The Godfather," "Goodfellas").

Fantastic Beasts is an enjoyable stand-alone but its position as the progenitor of a new franchise remains unclear.

This is a film to be enjoyed on a psychological level for its keen understanding of the contradictory impulses that drive sexual and social intercourse.

One of the singular pleasures of films like The Invisible Woman is the window they offer into the lives of deceased authors who are known primarily to modern audiences only through the words they committed to paper.

Like most rom-coms, it is comfort food although it lacks the fantasy element associated with characters who are less seasoned.

As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled.

Eastwood has crafted something that works both as a sports drama and as an examination of the birth pains of the racially unified South Africa.

It's a deliciously amusing and sometimes surprisingly poignant look at the difficulties of being a 15-year old outsider whose chief goals in life are getting laid and making sure his parents don't split up.

What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.

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.

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

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

Older viewers are more likely to appreciate the film’s intentions than fully embrace the story and its characters. Kids, on the other hand, will probably enjoy the frenetic action sequences; plucky heroine; cute, talking animals; and colorful visual representations.

It's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth a post-holiday expenditure of time and money.

It’s not a complete package but it’s fresher than much of what’s out there today and is difficult to dismiss even if it sometimes feels like a graphic novel married to a video game.

It’s a fun film that breezes by and, despite any liberties it takes with history, offers a valuable look at Wonder Woman’s real origin story. For adults with curiosity, this makes for an offbeat companion piece to the big-budget blockbuster.

A lot takes place during The Painted Veil's two-hour running length, but most of what happens occurs within the hearts and minds of the leads.

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

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.

The film’s climax is tautly executed; the way everything plays out is a whirl of brutal, violent beauty.

Diplomacy will work for those who appreciate dialogue-based character films in which plot is of secondary importance. This is a showcase for acting.

At its heart, Harrison's Flowers is a love story, albeit a graphic and difficult one.

Smile represents the latest in an impressive roster of horror films that have pushed the envelope, daring to go where most cookie-cutter fright-fests of the past decade have avoided treading. This is a dark, uncompromising movie that explores serious subjects like trauma and suicide.

Lelio’s subdued approach to the material robs it of potential emotional power but also keeps the story grounded.

With fresh dialogue and a willingness to show his protagonists in a less-than-favorable light, Demme has found a way to make this entry memorable.

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

Cairo Time is a valentine to Egypt.

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.

Solid performances, an intelligent script, and sure-handed direction. The result is a movie that kept me involved from start to finish.

Ultimately, Goodbye Solo works because the screenplay, actors, and director combine to craft honest, compelling individuals.

The Night Listener is by no means an example of perfect filmmaking, but it is the kind of movie that stays with you.

Amateur is a curious mixture of high art and delicious campiness, and the result is a funny, insightful, and almost-hypnotic motion picture.

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

It's a slight-but-enjoyable effort, and it features something a little on the surprising side: an optimistic ending.

My sense is that adults will be more taken with Ponyo than their offspring.

Well paced and energetic; it's unlikely to bore anyone.

If you want daring or original, Fools Rush In isn't the movie to see. Like 90% of all romantic comedies, it follows a time-honored formula that allows little room for variation.

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.

In "Rocky," it was less about beating Apollo Creed than showing grit, earning respect, and getting the girl. Fundamentally, Southpaw isn't much different.

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.

The film is as faithful to Greek mythology as Thor is to tales of the Norse Gods, but it ultimately doesn't matter. Tarsem's goal is to give viewers an experience a little different from the norm and, to that end, he succeeds. The "wow!" factor is in full evidence.

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.

Aggressive editing could have shortened Giant considerably, but the three hour twenty-one minute running time permits the tale to breathe. And, even at this length, there are times when events feel rushed or compressed... So, although Giant may not be a classic in the purest sense of the word, it's a fine example of a virtually-extinct genre.

Compelling and life-affirming.

At a time when many mystery thrillers fall apart in the final fifteen minutes, Headhunters maintains its integrity.

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.

The end result, however, whether pruned during the scripting stage or in the editing room, is a taut and compelling piece of cinema whose release in the wake of the 2024 election may have some viewers pondering Winston Churchill’s 1948 warning: “Those that fail to learn from history are doomed to repeat it.”

This film is an autopsy of a family that has been sundered by the death of the father and primary care-giver.

Though not unusual for animated movies to provoke tears, Maquia: When the Promised Flower Blooms is perhaps the second animated film I would openly classify as a “tearjerker” (the first being Grave of the Fireflies).

War of the Worlds is not vintage Spielberg, and it's on the grim side for a summer action blockbuster, but it's worth the time and money invested.

As is often the case with pioneers, it is ragged around the edges, but the film's weaknesses are not enough to prevent it from being appreciated. Dracula is not scary; it's a little too campy and hokey to be so (especially by today's standards), but it is nevertheless an effective storytelling vehicle, and there are occasional moments of movie magic.

Talky and intelligent, and never takes the cheap way out. It's also something of a downer.

Does what it sets out to do: educates about a mostly unknown historical figure (without doctoring the facts too much), entertains, and uplifts.

At a time when juvenile movies often dominate theaters, this is an adult movie through-and-through, and evidence that there are filmmakers who care about entertaining a more mature audience.

Slow moving and low key, and, when the final credits roll, you feel like you have spent nearly two hours in the company of a few real people, not constructs of a writer's imagination.

Bleak and gripping, Galveston offers a compelling experience for those who don’t demand pure escapism and are willing to sample the darker side of cinema.

This is a more personal movie for Burton than one might initially suspect. The very fact that he elected to re-tell this story after 28 years is an indication of how much it means to him. And I wouldn't be surprised to learn that, as a kid, he had a dog named Sparky.

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.

The film is at its best when it is at its most goofy, at times coming close to the laugh-aloud outrageousness of Will Ferrell's "Anchorman."

The characters are interesting and capture our sympathy and, although there are things to criticize about the final forty-five minutes, it brings the saga to a conclusion. There's a lot to like about The Place Beyond the Pines even if it isn't the feel-good movie of the spring.

It's great fun, but certainly not great art.

I left Wide Awake feeling the same way I did after seeing a number of Frank Capra's movies -- I was aware of the problems, but that didn't diminish the warm, fuzzy glow I was experiencing.

Kingdom of Heaven may have problems, but it delivers.

If there's anything special about the film, it's that on this occasion, the emotional realism of the characters, especially Slade, is heartwrenchingly believable.

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

By keeping the tone from becoming too somber and generating a degree of sympathy for Jewell, Eastwood has crafted an engaging (albeit fictionalized) account of the triumph of ordinary men over the establishment.

Boogie is at times unpolished but it offers a compelling and sympathetic portrayal of the title character and avoids excessive melodrama or a too-facile ending.

Although visually more impressive than even Bakshi’s blend of traditional animation and rotoscoping, The War of the Rohirrim suffers from some stylistic hiccups and the straightforward storyline limits the “epic-ness” of the production. Still, as a stand-alone adventure story, this is an engaging episode and a solid addition to a still-limited cinematic universe.

No matter how one views it, however, it’s worth seeing for the story it tells, the tension it generates, and the glimpse of potential it offers for future productions employing this technique.

While parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.

This is a dark comedy; the tone is such that it benefits from Jack Black emphasizing the less appealing aspects of his personality.

Predestination is science fiction for a thoughtful crowd. This isn't an action oriented film nor should it be mistaken for a blockbuster.

Volume 2 can claim to be bigger and better than its predecessor, although it still suffers from some of the narrative sleight-of-hand issues that kept Guardians of Galaxy from achieving greatness.

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

It's pretty much assumed throughout art and literature that the collapse of civilization will result in the rise of barbarism. That assumption underlies Mad Max, where the strong prey on the weak, and Max steps in to be the equalizer.

The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.

Pig in the City has been designed with the goal of recapturing the enchanting feel of the original while taking the story in new and different directions. It succeeds at both aims, standing as a worthy sequel to one of the decade's most innovative family features.

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.

Its plot-by-numbers story doesn't offer much in the way of surprises, and it doesn't have the emotional power of a Leaving Las Vegas or the euphoric quality of The Brothers McMullen. But Sabrina is fun in its own way, and, though clearly flawed, it nevertheless offers two hours' solid diversion (the overlong running time, by the way, is one of those flaws).

Casting helps the film work. Uma Thurman is among the few actresses who can pull off this role: the hot, buff, slightly deranged superhero and her dowdy, un-sexy alter-ego.

The relentless pace, which flags only occasionally, and entrancing storytelling make this follow-up an even more satisfying experience than the one provided by the 2022 production.

Regardless of the medium, this is an effectively brutal story of swords, sorcery, demons, and heroes, with an Oedipal hint or two thrown in for flavor.

When it comes to mockumentary parodies, no one does it better than Christopher Guest.

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

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.

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

Kevin Bacon and Marisa Tomei make the most of their limited screen time, injecting straight comedy into a movie that occasionally comes close to losing its sense of humor.

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

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

The movie is imperfect and overlong but it’s never boring.

Once you leave Wonderland, you may feel like you need a shower, but, while you're in the moment, it's a compelling journey into the depths of hell on earth.

While any or all of the events related during the course of the film might seem to form the backbone of an unendurably boring motion picture, everything comes alive because of Poppy.

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

X-Men: Apocalypse is a competently made superhero action film but it’s not a game-changer and its brand of action seems a little too familiar.

The final chapter of the trilogy has saved the best for last and will at least deflect the most serious concerns of those who think this series has taken too many extra laps.

Functions as much as a primer on how to conduct underground filmmaking as it does an offbeat romantic comedy.

Bridget Jones’s Baby exceeds expectations and, as a result, makes us willing to forgive the delay in bringing the character back to theaters.

Life Itself starts out with great promise – a dizzying first act that creates the tapestry of a character’s life by offering a kaleidoscope of moments from his past. It’s poignant, effective, and punctuated by actions that are breathtakingly sudden and unexpected. However, after the strong beginning, the movie takes a conventional turn.

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.

Despite being well made and supremely acted, Candy is a true feel-bad experience.

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

With Honeydripper, Sayles has done what he always does: bring together a group of characters and allow us to relish their interaction. His affection for the characters is both obvious and infectious. We like them, warts and all.

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

Although targeted primarily for girls in the 12-to-19-year old range, there's enough truth about friendship, love, and life in The Sisterhood of the Traveling Pants to offer solid entertainment to almost anyone who gives it a chance.

Cocaine Bear is imperfect. By traditional cinematic standards, it’s probably not very good. But it is fun and won’t disappoint many who are titillated by the title.

Five Fingers of Marseilles is simultaneously familiar and unique. As befits a film set in an isolated corner of the pre-and-post-Apartheid country, the movie incorporates its contemporaneous circumstances into the plot.

The Stepfather doesn’t hold up quite as well as it did during the late 1980s (some of the film’s technical aspects are dated) but it still generates tension and suspense and O’Quinn’s performance has lost none of its power.

Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs.

Structured as a comedy, albeit a dark one.

This is an American tragedy. Although the participants may be famous, the demons they fight in their intimate moments are familiar and relatable.

A flawed but entertaining (and perhaps informative) tale.

The movie works in large part because of the depth of Steinfeld’s performance. We haven’t seen such a well-realized character in any of the other Transformers movies.

As a well-acted standard-order bio-pic, Ferrari delivers but as something more, it falls short.

This isn’t Jarmusch at his best but it’s more accessible than some of his films and doesn’t demand more from an audience than to sit back and be amused.

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.

Offers the prospect of seeing beyond the stereotypes that plague Native Americans in even the best films.

In a head-to-head comparison, one would be hard-pressed not to declare that "Precious" is the better film - it makes fewer compromises and doesn't shy from showing the true ugliness only hinted at in this movie, but The Blind Side is more accessible. It's easier to digest. In the end, both films tell stories of triumph over adversity - a category of drama that uplifts while offering a dollop of social commentary.

The 2023 The Color Purple is a handsomely mounted motion picture and there are fleeting moments when it touches magic.

Stirring and emotionally forceful.

The picture is neither flawless nor foolproof, but it's smart and tight enough to keep audiences off-balance and entertained for the running length.

For a viewer in the mood for something rude, crude, and lewd, it would be difficult to find a more satisfying food.

Jack the Giant Slayer is an enjoyable fantasy/adventure whose magic is partially undermined by marginal 3-D.

For once, with How Stella Got Her Groove Back, Hollywood offers a love story that concentrates on the simple nuances of the romance rather than smothering us in an overly- melodramatic narrative featuring old boyfriends, jealousy, and hard-to-swallow misunderstandings.

Offering inspiration in both the truth of its basis and the way in which it is presented, The Boys in the Boat is an antidote to the pervasive cynicism of the modern era.

The movie as a whole isn’t about moments but a synthesis of all the factors that enriched the girls’ tennis DNA. Regardless of how much is true, how much has been softened and reshaped to suit the movie’s perspective, and how much is fabricated, the end result is compelling drama with top-notch performances and a feel-good denouement.

It's better than 90% of the animated fare of the last few years. It's refreshing not to have to qualify the movie's appeal by appending the words, "for the kids."

The biggest problem with In the Heart of the Sea is its episodic nature. Especially during the post-sinking saga, things don’t flow smoothly.

Gallo's script is quirky and filled with a number of hilariously strange comic moments.

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

Heartfelt, but not to the degree that it becomes cloying.

Yankovic understands and takes to heart the maxim of never letting the facts get in the way of a good story.

For the most part, this movie hits the right notes and gives its audience a dose of white-knuckle tension.

There’s an inevitability about The Danish Girl being well received by critics and at awards ceremonies. This is, after all, a movie with a strong social message about tolerance and inclusivity. Dramatically, however, it’s a mixed bag.

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

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.

It's familiar enough to be comfortable but not so familiar that it feels worn and repetitive.

A lot of people are going to describe it as a waste of time, yet there's a likeability to the quirky characters that held my interest while tickling my funny bone.

Although Shrek Forever After is not as funny or as impudent is its great-grandparent, some of its comedic jabs land solid blows to the funny bone.

Then again, it's worth noting that this Hollywood production is actually saying something, rather than just churning out eye-popping special effects while relying on a regurgitated plot.

The narrative is little more than a flimsy envelope -- it's the men and women who are sealed within that make Sling Blade worth watching.

The Hunger Games represents the best first book adaptation of any of the three series. It surpasses Christopher Columbus' "Harry Potter and the Sorcerer's/Philosopher's Stone" by a whisker and Catherine Hardwicke's "Twilight" by considerably more than that.

Compelling material, especially for those who believe that the lives and loves of the dead can impact the trajectory of the existences of the living.

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

Director Marc Webb brings the same kind of deft craftmanship for drama and low-key humor that he exhibited in "500 Days of Summer" and the result is emotionally true and dramatically solid.

The special effects are first rate - not always the case with Star Trek movies, although Abrams has been given a budget the likes of which directors Nicholas Meyer, Leonard Nimoy, and William Shatner would have salivated over.

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

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.

Neither as effective nor as ambitious as Kubrick's masterpiece, but it's still a compelling cinematic experience for those who are willing to abandon themselves to the unforced, measured rhythms of an issues-based motion picture.

Extreme Measures isn't going to be described as the "slam bang thrill ride" of the Autumn, or any other such nonsense. The film's inherent tension comes not from the shootouts and chases, but from its core ethical questions -- questions that ultimately have to be addressed, not only in movies, but in real life. "If you could cure cancer by killing one person, wouldn't you have to do it?" Obviously, there's no easy answer, and, whether you agree or disagree with the position taken by Extreme Measures, at least the film frames its response in an entertaining, and occasionally thought-provoking, package.

The acting is uniformly superb.

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.)

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.

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

An amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting.

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

The movie may be marketed to art house audiences but it has something to say to (and about) us all.

This one delivers.

Not a great film, but it's an excuse to have an evening of pure enjoyment with a little culture painlessly mixed in.

Provided the viewer is broad-minded enough not to be bothered by a nearly constant stream of profanity, Strays offers a kennel of off-color laughter.

This is essentially a familiar story told with consummate skill.

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

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

The best one-liners, like the best fight scenes, are reserved for Schwarzenegger. It's too soon to tell whether Terminator Genisys will have a catch phrase like "I'll be back" or "Hasta la vista, baby" but there are several candidates. Much of the film's comedy results from The Terminator's failed attempts to emulate human behavior.

Tom Jones succeeded in large part because of its wit, its performances, and its energy.

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."

Fuqua takes a genre picture and, by diverting the story onto an unconventional path, generates a sense of urgency. Tears of the Sun is not a great movie, but it is satisfying, and represents an example of accomplished filmmaking.

The voice work is on-target - the child actors, none of whom have played these parts before and many of whom have limited professional experience, nail their characters. They sound just like we expect them to sound.

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.

The cast is comprised of unfamiliar faces, which enhances the pseudo-reality of the milieu. The principals - Dane DeHaan, Alex Russell, and Michael B. Jordan - are professional actors with credits (many on television) to their names. But they are not "known" stars and that allows them to be accepted with ease into these roles.

It is at times serious and at times very funny. But it is always perceptive, and that quality, more than any other, is what makes it worth a recommendation.

The Lost Daughter uses tone, location, and a string of expert performances to leave an impression, even if the story itself is unremarkable.

Alpha Dog isn't a happy movie, but it's dramatically solid and the impressions it leaves will not be easily shaken.

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.

Macbeth may be among the Bard’s weakest popular plays (opinion is, of course, divided) but this is one of the better cinematic conversions.

The movie's sincerity helps it get over some of the most difficult hurdles and the feeling after leaving theater is one of having experienced something worthwhile albeit unremarkable.

Those anticipating something along the lines of Casablanca will be disappointed. Despite the superficial similarities and Warner Brothers' obvious desire to point them out, To Have and Have Not is inferior in almost every way that matters. But for those who visit this movie to vicariously experience the beginnings of Hollywood's most famous romance, it delivers in full.

It isn't as delirious a journey as we experienced a decade ago, but it's still filled with wonder, monsters, and thrills.

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 tendency for an actor in a role like this is to overact. The result is often disastrous, reducing a character into a caricature. Hugh Dancy, adopting an American accent as effectively as the mannerisms of someone on the moderate portion of the Asperger's spectrum, makes Adam believable and generally sympathetic.

There's nothing here to astound or surprise; the movie neither exceeds nor falls below expectations. Those who love Hardy and/or the less-filmy romances of his era will derive the most from Far from the Madding Crowd.

While "Hereditary" crashed and burned in its final act, Midsommar stays afloat, although the movie is ultimately hampered by a too-long running length (147 minutes) and scenes that teeter perilously close to slipping over a cliff into self-parody.

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

An occasionally maddening and sometimes brilliant motion picture that varies between being insightfully sharp and insufferably self-indulgent. Regardless of whether you appreciate the movie or not, it's likely to stay with you.

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

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.

It’s a rom-com where one of the participants is the self-described “last black man” and the other is a house.

Perhaps best of all, this is a rare instance in which the 3-D, while not an asset, is at least not a detriment.

It’s a must-see for those with a penchant for droll, avant-garde cinema or anyone fascinated more by technique than narrative. For others, it’s more of a curiosity than a can’t-miss production – a film that may fascinate for a while before starting to seem repetitive and overlong.

Allen appears determined to craft a motion picture that can be laughed at without plumbing any especially deep neuroses of the human condition.

Despite being a little rough around the edges (as is often the case with the work of maverick documentarians), This Film Is Not Yet Rated is more than just an angry diatribe against the MPAA.

The actors, especially an uncharacteristically low-key Russell Crowe, are effective in bringing the personalities to life and director Joel Edgerton (who adapted the source material and also acts) avoids the kind of extreme melodrama that could unbalance a project like this.

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

Up is not as transcendent as last year's "WALL-E," and doesn't rank near the top of Pixar's pantheon of great features, but it's a solid (and in some ways innovative) fantasy adventure that mixes comedy, action, and drama into a satisfying whole.

Blindspotting is a compelling film with much to say about subjects like gentrification and race – things it approaches with a mix of wit and seriousness. However, when it comes to punctuating a core theme of the Black Lives Matters movement, it falls short of the gut-punch delivered by a film such as "Fruitvale Station."

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

The performances are uniformly strong and there are some powerful scenes but the overall story arc is less insightful or affecting than one might hope.

What is missing in depth and philosophical intent is compensated for with humor and humanization.

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.

Thumbsucker is true to its nature, and that makes Justin's eventual transformation all the more rewarding.

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.

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.

Imperfect, but magical nonetheless.

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).

For those who buy into the precept that "good things are worth waiting for," The Walk unquestionably delivers.

Dave is proof that predictable movies with only a marginally original premise can still be tremendous fun.

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.

A remake, done right, was not a bad idea. And, fortunately in this case, it has been accomplished with some flair. The result is a lightweight source of entertainment that maximizes humor and minimizes serious stuff.

A deliciously nasty, dark comedy.

Simultaneously funny and touching with elements of pathos to go along with the raunchiness. However, The King of Staten Island runs too long and, as result, it loses steam while chugging toward the ending.

The movie is fresh, fun, and breezy.

The film revels in blood and gore, but this is not just a run-of-the-mill splatter film. There's a lot of intelligence in both the script and in Alexandre Aja's direction.

Not mainstream fare, but neither is it as willfully obtuse as "Melancholia."

Denzel Washington plays Denzel Washington, good cop. This isn't a great performance, but Washington wasn't brought in to show off his acting chops.

Lightweight, although it exhibits enough heft for us to develop an emotional connection with the main character. I have always appreciated a smartly written motion picture, and, whatever flaws Igby Goes Down may possess, it is undeniably that.

As a date movie or for a solo night out, Blast from the Past offers more than standard romantic comedy fare.

The Last Jedi is a film of moments. There are perhaps a half-dozen of them: goose-pimple inducing, fist-pump encouraging, heart-racing bursts of cinematic satisfaction. The problem is that the narrative threads connecting them are lazily knitted and sometimes tangled or broken.

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.

The best pure thriller of 2003 to-date.

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

Send Help makes for an interesting counterpoint to Swept Away; the similarities are too frequent to be coincidental. Yet, where the Wertmüller film openly courted controversy for its misogynistic elements, Send Help is a more straightforward, crowd-pleasing endeavor.

Director Zhang Yimou's ambitious attempt to blend martial arts action with Shakespearean melodrama. It's not a perfect marriage but it offers two hours of solidly over-the-top entertainment featuring incredible visuals and powerful performances by international icons Gong Li and Chow Yun Fat.