James Berardinelli

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

It's those moments and others and the way they are tied together by Shepherd's tongue-in-cheek narration that cements A Christmas Story as one of those rare must-see holiday movies, even for those who don't celebrate Christmas.

Produced during the pandemic and available on Netflix, the movie is well worth a look both as an exploration of love’s bitter aftermath and as an example of how art can bloom even in the most challenging circumstances.

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

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

Despite being filmed far from where it is set, the authenticity of the situations and emotions is unmistakable.

The teaser scene is phenomenal. It depicts the escalating tensions that accompany being one of the men in the final chain that leads to a nuclear launch. In this case, it's just a drill, but the men (played by Michael Madsen and John Spencer) don't know that. They must confront the morality of obeying an order that could lead to a worldwide holocaust. It's a taut scene that is suffused with verisimilitude.

It has been said that a Monty Python movie is only successful if it offends everyone in the audience at least once. By that measuring stick as well as nearly any other, The Life of Brian is an unqualified triumph. It makes us confront our foibles and laugh at them.

With its underworld violence and straightforward narrative, Shanghai Triad may be Zhang's most accessible film to date. It is not, however, his best work, having neither the epic scope of To Live nor the quiet emotional power of Raise the Red Lantern. Yet there is still much to like about Shanghai Triad, not the least of which is the production's gorgeous look (credit the director and his cinematographer, Li Xiao). Shanghai Triad overflows with memorable imagery and atmosphere. And, as this film verifies, a weak entry by Zhang is often far more engrossing than a strong entry by many other directors.

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

As is usually the case with a well made sports movie, you don't have to appreciate the particular sport in order to enjoy the movie. 8 Mile has not been made solely with fans of hip-hop music in mind.

Once Were Warriors works, to some degree, on three levels: the visceral, the emotional, and the intellectual, and it is the amalgamation of these that makes this a memorable film.

The director is a poet of images.

Although it’s being marketed as a love story, The Aftermath is more about grief and recovery than romance. In fact, the film’s illicit relationship is a cold, passionless affair that generates as much heat as a dying ember in a snowstorm.

While the story doesn't score points for originality, the themes addressed are important and immediate, and ultimately it's a failure in execution that keeps this film from joining the ranks of a number of recent, memorable pictures chronicling life on the streets and in the ghettos.

As with most political thrillers, The Ghost Writer emphasizes plot development and atmosphere over action. It's an "adult" thriller as opposed to one designed for viewers suffering from ADD.

Well-made and deserves recognition as one of the year’s best family offerings (thus far).

For all his passion to tell this story, Heckler doesn’t seem sure of the best way to conclude it.

Baumbach is 45 (roughly the same age as Josh) so he writes from personal experience. He knows what these characters are feeling which is the reason why the human elements resonate with authenticity - a quality that fades when While We're Young wanders off on the tangent about what constitutes a legitimate documentary.

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

Regardless of who sees or doesn't see Dallas Buyers Club, however, the movie does what it sets out to do by providing a striking portrait of a remarkable character and offering a history lesson to those too young to remember how things were for AIDS sufferers during the dark ages of the 1980s.

Gracey’s bracing style, which invites some interesting observations (such as whether sex scenes featuring Williams-as-a-chimp should be considered bestiality), gives the movie an edge that it never loses even after we have gotten used to the substitution.

One of the problems with Unlovable is the uneven manner in which the tone shifts.

Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.

A Single Man tells us about love, isolation, and sorrow, but never makes us feel any of those things.

The Color of Money plays better when not under the shadow of The Hustler, which is ultimately a better and more compelling tale.

More substantive than the average thriller/road movie.

Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.

I, Tonya holds our interest by exposing the falseness and commercialism of Olympic-level skating competitions and illustrating how the perseverance shown by Tonya is perceived not as an asset but a character flaw. The film’s strength is that it does more than simply make us laugh.

The result is a film that runs far too long and rarely generates enough tension or genuine horror to justify its runtime—or, indeed, its very existence.

The highest compliment I can offer Ulee's Gold is that it plays more like real life than a movie.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

A little like watching an episode of the TV show of which Adam Sandler is an alum: "Saturday Night Live." Zohan feels like an extended collection of skits tied together by a flimsy umbrella story.

Although not as openly crowd-pleasing as Cooper’s A Star Is Born remake, there are enough interesting touches in the film – both in its aesthetic and some of the individual scenes – to demonstrate Cooper’s evolution as a filmmaker.

Magic on celluloid -- fresh, funny, romantic, and upbeat. You'll leave the theater with a smile on your face and perhaps a tear in your eye.

Project Hail Mary is more about the wonder of the unknown and the satisfaction of finding new friends.

Male coming-of-age stories are a dime-a-dozen, but the same cannot be said for the female equivalent, especially when the story is told with intelligence and sensitivity. This makes Ruby in Paradise a rare and welcome change of pace.

Undemanding, light, and enjoyable.

The Wave’s centerpiece is a critical ten-minute span between when the rockslide occurs and the wave reaches civilization. Played out in real time, this is a period of sustained and effective tension. It’s real, raw, and ragged.

With its refined wit and glorious vision, The Hudsucker Proxy is certainly deserving of a wide audience.

Pump Up the Volume, in addition to presenting an engaging story, has tapped into a universal truth about rebels with causes.

Let me start by saying that Hercules, Walt Disney Pictures' 35th animated feature, makes for good family entertainment. Good, not great. While this film is capable of providing a ninety minute diversion for both kids and adults, it's a far cry from such recent classics as The Little Mermaid, Beauty and the Beast, and Aladdin.

There’s still quite a bit to like here, from the strong sense of atmosphere to the layers of a Hitchcockian plot, but this is not a complete movie. And when viewers are laughing at a movie rather than with it, something has gone awry.

Mixed Nuts makes a point of stating that there's magic at Christmas. After seeing this movie, I'm a believer. After all, it's virtually impossible to come up with an alternate explanation of how something this awful could make it to theaters across the nation.

The film has more charm than the average romantic comedy, but, when considered from a bare-bones perspective, it follows most of the rules that define the genre.

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

It’s a near-miss that offers a captivating atmosphere and strong performances to go along with an uneven tone and a climax that’s so overcooked that it bursts at the seams with unintentional humor.

An unconventional tale of redemption that earns its upbeat ending by not falling prey to every cliché of the genre or giving in to the temptation to become too maudlin or sentimental.

With Deliver Us from Evil, Berg has been uncompromising in the picture she paints. She pulls no punches and makes no apologies.

By any standards, Silk is a bad movie: pretentious, stillborn, devoid of emotion.

First-time director Jonathan Watson crafts a film that’s neither funny nor exciting, although it often seems to be straining to be one or the other. It’s a tonal mess and its inconsistencies make it a frustrating viewing experience.

Memory plays like a blended cop movie/revenge thriller and exhibits the strengths and weaknesses of both. At its best, it recalls the Mel Gibson movie Payback (which was similarly a remake of an earlier film based on book).

Empire of Light offers an appetizer of nostalgia for those who remember theaters during the early 1980s but the main course isn’t the easiest to digest, despite several strong performances.

It's simple and well-told, although nothing about it is breathtakingly original.

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

Kudos to Darren Aronofsky for having the courage to make this film. Kudos to Paramount Pictures for having the guts to open this wide rather than burying it or hiding it as a VOD release. It’s too bad it doesn’t work.

With a smart, perceptive script from first-time director Kelly Fremon Craig and an arresting lead performance by Hailee Steinfeld, the film rises to the top of a crowded genre.

More than any other comic book character outside of Nolan’s Batman, Wolverine has evolved. With his glimpse into what superhero movies can be, James Mangold has given us something sadly lacking in recent genre entries: hope.

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

It’s a step up from 28 Weeks Later but it remains to be seen whether Nia DaCosta is able to bring this chapter across the finish line.

The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.

An engaging romantic comedy that would have been better if the audience wasn't constantly being distracted by mediocre video quality and jerky camera movements.

Affable, but, as something with more ambition, it disappoints. Herek has once again found the feel-good path to mediocrity.

An infectious celebration of life and love.

It's funny as hell at times with a twisted sense of humor that one typically expects from the likes of the Coen Brothers and Quentin Tarantino.

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.

Visually interesting but offers nothing groundbreaking. The animation is competent but not overwhelming. There's no moment of wonderment.

Career Girls is a wonderful diversion -- expert film making that's all the more effective because it seems so natural and effortless. The movie lacks the grit of Naked and the emotional impact of Secrets and Lies, but, because it effectively transforms two strangers into people worth caring about, Career Girls can be regarded as nothing less than a success.

Although the story is weirdly engaging in its own right, the best parts are the prologue and epilogue.

A Nightmare on Elm Street is tailor made for those who like their gore leavened with thought-provoking ideas - something that is a rarity in this genre.

The final half-hour of Broken Embraces is littered with facile contrivances and plot turns worthy of a soap opera. It's almost mystifying, and more than a little frustrating, to watch a movie cruising at such a high level suddenly suffer a complete breakdown and lose too much altitude.

Writer/director Mangold never compromises the integrity of his painfully-intense script. There isn't one crowd-pleasing moment in the entire movie, except perhaps the last scene, which offers a flicker of hope.

The comedy in The Sure Thing is genial and unforced. Most of it develops organically out of the characters and their situations. It doesn't grate and it doesn't interfere with the evolution of the central relationship, and it's effective enough to provoke the occasional laugh or smile.

The result is a sharp, insightful, charming motion picture.

A workmanlike thriller that provides solid performances; a mixture of comedy, tension, and drama; and an engaging storyline. But there's nothing extraordinary about the movie.

It’s a strong performance of a character worthy of biopic treatment. Dolemite lives!

Inept storytelling is one of Lords of Dogtown's great frustrations.

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

Together, Crystal and Ryan really click. Even though their characters are polar opposites (or perhaps because of it), their interaction has a charm and warmth that most motion picture pairings lack.

The acting is uniformly superb.

A bleak, black satire that occasionally strays all the way into "Pulp Fiction" territory.

Pretty Persuasion reminds me of a half-hour TV series that has a great pilot episode, then falls apart in subsequent installments. Movies need to grow and change to keep things interesting; this one is stagnant.

Elements of Across the Universe are shockingly awful and the film lasts at least 30 minutes past the bearable stage. But if you like the Beatles and the idea of hearing about 20 covers of their work fills you with a perverse joy, this may be the movie for you.

The 30-minute finale, which includes a tense stand-off with Ben's gang, is masterfully executed. It's perfectly paced, suspenseful, and ends in a way that's both appropriate and satisfying.

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

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

A Monster Calls is a deeply moving drama that should find favor with viewers of all ages (except the very young). It’s a stunning work of artistry and emotional heft with an ending that speaks as loudly to children, parents, and grand-parents. It’s difficult to shake and impossible to forget.

This is an unusual source of entertainment.

Although the narrative for Their Finest occasionally rambles (too much time is spent buffing Ambrose’s backstory, which is only tangentially germane to the main tale), it is by-and-large a stirring drama that incorporates lighter moments with scenes of deeply felt tragedy.

In today's environment, it's a rare thing to find a movie with interesting characters in dense, intelligent storylines, but that's what Syriana offers. It is one of the best films of 2005.

The richness of its tapestry, densely woven from human emotions and character interaction, ensure it will never lose that relevance.

Dreamgirls is good and at times it touches greatness.

The story, which retains an element of corny appeal, is hamstrung by a too-long running length that tries the viewer’s patience.

Escape from New York isn't really science fiction -- it's an action flick set in a futuristic setting. Epic potential for a masterful, gripping tale is abandoned in favor of cheap thrills.

It may not be frivolously engaging but it is compelling.

The Father of My Children is exceptional drama. Compelling and unforced, it shows sensitivity and evenhandedness in approaching a difficult subject.

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

Although The Trial of the Chicago 7 has a serious message, it finds room for moments of (dark) comedy and (gallows) humor.

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

The gore is so badly done that it's borderline comical and poor lighting passes for "atmosphere."

Menace II Society has a devastating impact. Few films possess the power to keep an audience sitting in stunned silence after the end credits begin rolling, but this is one of them.

Starts slowly, but builds to a satisfying conclusion.

If not for Bornedal's stylish approach to the material and a couple of effectively chilling sequences, Nightwatch would have been a complete waste of time and effort.

The movie does offer its share of thrills and cheesy, unsophisticated fun. Just don't watch it if you're planning any air travel soon.

Under a director with less vision and ambition, Heat could have been just another routine crime drama, but Mann brings such an edge to the proceedings that the threadbare story takes on a new urgency.

Although ultimately a triumphant story, this biography doesn't see its subject through rose-colored glasses. It takes chances, and that's why it works.

The only reason Soul Kitchen is being marketed as an "art film" in the United States is because it is subtitled. On merit, this is as mainstream as one can imagine - a generic, feel-good plot that's fit for a sit-com. Call it My Big Fat Greek Restaurant.

Talk to Me isn’t for the faint of heart. It isn’t for those who believe horror movies can easily be shaken off. And it isn’t for those who aren’t willing to pay attention and allow the film’s unsettling aesthetic to seep into one’s bones.

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

The movie with which it has the closest relationship may be "Glengarry Glen Ross." The same sense of desperation, the same need to make the sale, permeates Margin Call. Both films are to some degree about the dehumanizing impact of money and both are driven more by characters than plot points.

The meandering nature of the screenplay causes the movie to seem overlong as it noticeably loses momentum following a key coming-of-age moment. The episodes that follow don’t seem as fully realized as the ones that come before and, by the time The Hand of God ends, it’s floundering. On the whole, however, this is a charming and at times moving reminder of what it meant to be young in the 1980s.

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

While having a female director perhaps gives Wonder Woman a subtly different perspective, the real strengths of this production are its lead actors, the period piece setting, and an unexpected emotional resonance that one doesn’t expect from a popcorn movie.

The casting is perfect. Webb has chosen leads who are familiar but not overexposed, and who are on equal footing (neither overshadows the other).

Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.

In a year when no fewer than five films have dealt with themes of man vs. nature and survival (including The Martian, Everest, In the Heart of the Sea, and A Walk in the Woods), The Revenant is by far the most brutal, challenging, and astounding of these.

No Sudden Move represents [Soderbergh's] best post-“retirement” effort and this is a real treasure for those with an affinity for ensemble crime movies.

Safe does not succeed at everything it attempts. The film is overlong and there are times when more aggressive editing might have improved the pace. However, despite certain dramatic shortcomings, Safe is an insightful and darkly comical social commentary.

Although not as good as the first Sisu—which made my 2022 Top 10 and has since become a cult favorite—Road to Revenge is a worthy follow-up.

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

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

With September 5, Fehlbaum has crafted one of 2024’s most unlikely thrillers. It’s also one of the best movies to reach screens in a year when genuine tension has been too often absent from films in which it should have been a key ingredient.

It's a powerful, affecting tale that uses scenes of the young couple's new love as a counterpoint to Iris' final days - memories of a brightest spring echoing in the darkest depths of winter.

Witness states its position about clashing cultures with eloquence.

I suppose High Art is as good a name as any for this pretentious melodrama, an often- diverting but ultimately pointless attempt to wed intellectual twaddle with a soap-opera-ish lesbian romance.

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.

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.

I like Steve Buscemi. I really do, which is why it's such an disagreeable task to write a review that condemns his directorial debut as a waste of film. I'm not talking about a good idea gone awry, I'm referring to something that's rotten to the core.

Howard is an affectionate but unremarkable biography of Ashman that uses archived clips and new interviews to present an overview of the man’s life with a special attention on his later years.

The Usual Suspects is an accomplished synthesis of noir elements and, as such, is an entertaining entry to the genre.

The problems with 10 Cloverfield Lane result from attempts to tie it, however tenuously, to the earlier movie. Take away the disappointing, disjointed, and anti-climactic final act, and this is an effective white-knuckle psychological thriller.

Ultimately, however, A Dangerous Method is less about the formative years of psychotherapy and two of its progenitors than it is about a rule-breaking extramarital affair.

Admittedly, Mother has a weak beginning and ending, but the material in between is what makes it worth watching. This probably isn't the funniest or most inventive comedy of the year, but it gets high marks in both categories.

Uncompromising, painful, and at times difficult to watch, this movie lays bare more than a few raw nerves. Some viewers will find it too real, too immediate. It's an experience, to be sure, but I wouldn't classify it as entertainment.

Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.

Bold and stirring with impeccable production values, The Last of the Mohicans is a memorable motion picture adventure, and one of the best films of the year.

Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.

Other than a high cuteness factor, there's not much here. This is a warmed-over, low-end recycling of director Rob Reiner's own "When Harry Met Sally."

Reese Witherspoon's unglamorous, understated supporting work recalls the kinds of films she made before becoming a movie star. Other recognizable faces include Sam Shepard, Joe Don Baker, Michael Shannon, and Sarah Paulson.

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

Many of the characters might have longer, more fully fleshed-out arcs. But what Prince-Bythewood provides is more than enough for a rousing motion picture filled with well-choreographed battle scenes effectively folded into stories of human interest.

Asteroid City doesn’t represent Anderson in peak form but it’s an occasionally enjoyable diversion that offers enough smiles and low-key laughs to paper over a few the filmmaker’s annoying tendencies.

The screen translation of Catching Fire, the second volume of the series, offers its audience many of the elements that made The Hunger Games compelling, but adds to that by deepening the themes and emotional currents and traveling to darker destinations.

Death of a President is celluloid mediocrity. It's neither interesting nor convincing.

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.

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

While Cheryl's journey is interesting, it isn't as compelling as the one embarked upon by Christopher McCandless (Into the Wild). The most arresting aspect of Wild isn't Cheryl's perambulation along the 1000-mile long Pacific Crest Trail but the memories that percolate to the surface as flashbacks.

What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.

The Truth is layered and offers a treat for those who savor acting on the highest level, but it is a step down from his best films and may hold its strongest appeal for those who label themselves cineastes and art house movie-lovers.

It’s experimental without being off-putting and it uses its 100 minutes to build out a character who was frustratingly incomplete in X.

The result, regardless of how it was arrived at, is gutless.

This is yet another early 2025 movie where there’s just enough material in the film to assemble an intriguing three-minute trailer but not enough to make the other 120 minutes of more than passing interest.

As counter-programming to the early summer season's blockbusters, this delivers better than a lot of the more expensive titles against which it is competing. It serves as a potent reminder that a well-crafted atmosphere and a singular, focused vision can be far more terrifying than a hundred million dollars' worth of digital effects.

Final Account may ultimately be more important for the voices it immortalizes than for its worth as a conventional documentary.

Balances character development with plot, and that's crucial to its success.

It doesn’t break any molds but expertly crafts familiar material into an end product that will likely appeal to a wide audience.

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

Kids for Cash may not be inherently cinematic (a lot of the footage, after all, first appeared on television) but it is compelling.

The film is notable for continuing to expand the corporation’s reach into different cultures while displaying a welcome maturation of animation beyond the conventional American standard into something that, although no less family-friendly, is thought-provoking and stimulating.

The comedy is mostly restricted to one-liners, some of which aren't funny. And the action is uninspired, barely tapping the vast potential of an amusement park chase film.

Lucas manages to be touching, sad, thoughtful, funny, and joyous - it's a nearly-perfect portrait of the incredible highs and lows that accompany the high school journey of a square peg who doesn't fit into a round hole.

On balance, Man on a Ledge is fun, but I left the theater feeling disappointed and cheated, as if the filmmakers set me up for something great they ultimately couldn't deliver.

From narrative to character development to staging, every frame of Mistress America drips with artifice. It's a playground for unpleasant, self-absorbed characters - an excursion into the lifestyles of people most of us would prefer to bypass. If there's an antonym for self-awareness, it applies to nearly everyone populating this misfire.

Likely to bring a smile to your lips and a bounce to your step.

Rango is the poster child for those who are anti-3-D, and a great reminder that genuine creativity doesn't need a gimmicky crutch to appeal to audiences.

The result, bolstered by strong acting and an intriguing back story, is an unqualified success. Love and Other Drugs may be the most honest romance to grace the screens during all of 2010.

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.

As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.

The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.

Love Me isn’t bad in the sense that it is poorly assembled or incompetently shot. On a craft and technical level, it’s above average. But the narrative is incoherent and the philosophical meanderings lack depth and intelligence.

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.”

Martha Marcy May Marlene offers a challenging, emotionally riveting experience, even if the conclusion dangles at the edge of an unresolvable cliffhanger.

Funny Games is not entertainment but it is an experience.

Without question, Extraction is the best action-oriented film released during the first third of 2020. One could argue that such a statement is damning with faint praise.

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

It's bland as often as it is affecting, and presents little that's new or original.

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.

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

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

A profoundly unsatisfying experience - and that doesn't consider the derivative nature of the plot and a lackluster performance by the lead actor.

The movie is pretty to look at in a "Transformers" sort of way and moves briskly enough that it never threatens to bore, but it's hard to feel much of anything about the characters and, when it's all over, there's a sense that everything that happens is obligatory.

Indy's companions are weak; we don't identify with them the way we did with Marion and Sallah. There's less action and more overt comedy, and neither change works to the benefit of the story.

Although there are numerous problems with Fifty Shades Freed, the third and final installment of E.L. James’ trilogy, the fundamental one is also the most obvious: the lack of a compelling story.

Whether on stage or on film, The Crucible is a powerful, thought-provoking production. This version illuminates the story's numerous strengths, resulting in a motion picture of surprising emotional and intellectual impact. By re-interpreting this classic so effectively, Hytner has assured that at least one version of "The Crucible" will become a part of film history.

Blue Velvet is David Lynch in peak form, and represents (to date) his most accomplished motion picture. It is a work of fascinating scope and power that rivals any of the most subversive films to reach the screens during the '80s.

Bridesmaids is bipolar filmmaking at its most disconcerting, with changes in tone so abrupt that they can cause whiplash. In part because of this and in part because the writing is often lazy and self-indulgent, the movie rarely works.

Fascinating, garish, and compelling even with an overlong 130-odd minute running time, Benedetta dabbles in some of Verhoeven’s career-long weaknesses while highlighting a great many of his strengths.

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.

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.

There are good reasons to see Tully. Theron’s performance is high on the list, as is that of Mackenzie Davis. The first 30 minutes are uncommonly good, which may be why the spike of disappointment is so acute when the film fails to maintain that level for its entire length.

It's a rousing adventure that keeps the audience involved for the entirety of the two hour running time while opening a window into the culture that gave birth to Christopher Marlowe, Edmund Spenser, Francis Bacon, and William Shakespeare.

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

Gary Oldman’s portrayal of Churchill is among the best to reach the screen. With the help of makeup, Oldman immerses himself so deeply in the role that the actor disappears.

The problem with An Inconvenient Truth isn't the message; it's the messenger.

It's refreshing to encounter a movie with a logical, intelligent approach to the dangers of zipping through time.

The Bourne Ultimatum provides a lot more suspense and tension than "Transformers" could hope for.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.

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.

This is a film of powerful ideas, impressive set design, and compelling performances.

This feel-good motion picture is intelligently written and expertly directed.

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

The twists taken by the narrative, the quality of the performances, the superlative cinematography, and Berri's masterful direction make this one of the best motion pictures ever to cross the Atlantic Ocean.

The problem is that writer/director Paul Feig became too enamored with his storyline which, at best, could be described as a lame James Bond parody.

In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.

This is “more of the same” but, at least in this case, that’s a good thing.

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.

Although there are certainly elements of tragedy in the storyline, this is first and foremost a crowd-pleaser. It touches the heart and, in addition to being Branagh’s most personal film, it’s also his most intimate. Unquestionably one of 2021’s most affecting motion pictures.

Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,

It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.

When focusing on the micro-verse inside a news van and the four passengers taking the trip, Civil War does a good job dissecting the damage done by a desensitization to violence. But it botches the background and features an ending that belongs in another movie (preferably one featuring Gerard Butler).

There's something delightfully old-fashioned about Steven Soderbergh's Side Effects. It's the kind of thriller that Alfred Hitchcock might make if he was still alive and active today.

You don't just watch Titanic, you experience it.

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."

The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.

T2 features bigger, bolder, more energetic action sequences than its predecessor.

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.

A bunch of IQ-challenged characters traipsing through a laughably bad scenario brought to life using silly dialogue, banal direction, and questionable special effects.

Though there are some narrative hiccups, its emotional core elevates it beyond mere cringeworthy gore.

We've seen this story so many times that it's starting to wear thin. In many ways, Kicking and Screaming is mildly enjoyable, but all it really does is go over old ground with new characters.

Those who attend this movie expecting to see a superhero smack-down won’t be disappointed, but anyone partial to Captain America’s saga may feel shortchanged.

Unevenly paced and with a miscast lead, the movie fails to get us to care about its automaton main character as she goes through the motions in a generic spy thriller.

Today, it feels like a parody and at times slips into “so bad it’s enjoyable” territory.

Eastern Promises is a jumbled string of mob-related clichés that mesh into something that’s derivative and at times uninteresting.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

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

An enjoyable, although not ambitious, holiday outing.

To reboot the X-Men franchise, director Bryan Singer, who first gave these characters screen life fourteen years ago, has crafted a continuity-lover's nightmare.

Although there are a few missteps, the movie boasts a deliciously dark tone that makes for compelling viewing.

While the experience it offers may not be to everyone’s taste, it is off-the-beaten path and effective for what it attempts to be.

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

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

This combination of storytelling, singing, and corny comedy is sometimes a little too slow and long-winded for its own good, but at least the aftertaste isn't bitter.

The Equalizer 3 is the messiest of the three movies and the most narratively fractured, but it should still satisfy those who consider themselves to be fans.

As written by the brash, funny, and often vulgar comedienne Amy Schumer, Trainwreck is brash, funny, and often vulgar. Its raunchiness is a perfect match for the man who made "The 40-Year-Old Virgin" and "Knocked Up."

Not a daring film, but it is immensely likable. Every once in a while, a movie comes along that, despite traversing familiar terrain, is made with enough all-around skill that it overcomes its clichéd origins. About a Boy is such a movie.

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

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.

Origin offers the best of both worlds: a well-developed story with a three-dimensional lead character who grows over the course of the movie and an intellectually satisfying element folded into the screenplay.

An affecting and endearing collaboration between Miyazaki and Kondo, it weds a coming-of-age story with a flight of fancy to good effect. Although often overshadowed by more popular titles in the Studio Ghibli catalog, this is as deserving as any 1990s Japanese animated film to be seen and enjoyed.

Taut, relentless, and uncompromising, A House of Dynamite’s greatest strength is its sense of plausibility.

Despite being broadly classified as a “monster movie” and featuring sequences that are as wildly bizarre as any Monty Python skit, Okja has serious messages about consumerism, ecology, and food production.

The film offers everything one could ask for from popcorn entertainment.

Not great Disney but good enough to engage viewers young and old.

Those who enjoy gritty, angry Westerns (especially those set in the Australian bush rather than along the American frontier) will find much here to their taste, none of which is in need of additional seasoning.

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

As a satire on the media's infatuation with violence and murderers, Natural Born Killers hits the bullseye. The problem is, this is a one-note movie. It repeatedly hammers home the same point until the audience is bludgeoned into senselessness.

Consistently hits the right notes, earning both the tears and smiles that result.

Imogen Poots and Zoe Saldana add their names to the project but, although they give solid turns, their roles are secondary. The star is relative newcomer 15-year old Madison Wolfe, whose performance is note-perfect.

As a documentary, this movie has the same problems as all of those in Moore's oeuvre; as a polemic or a visual op-ed piece, it's an effective piece of filmmaking.

A compelling, thought-provoking, and unsettling drama.

Is it A Bigger Splash or A Bigger Bore? Despite a strong cast, gorgeous cinematography, and a suffocating sense of sexual tension, this movie takes far too long to get off the ground.

The humor - and there's enough of it that Tabloid could be categorized as a comedy - is unforced, arising as it does out of these truth-is-stranger-than-fiction circumstances.

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.

One hell of a ride. For better or for worse, it will leave you stunned and reeling.

Bottoms achieves what it sets out to do and, in the process, provides a multiplex-friendly indie movie with breakout potential.

Gives life and meaning to an event that is little more than a footnote in history books (if that).

It’s an uneven film with a tone that veers from playful to menacing. Despite numerous simplifications of the source material, it’s long and, with only a few exceptions, the songs are unremarkable and feel more like filler than organic elements of storytelling.

The Sea Inside is uplifting. This is a movie that may cause viewers to both laugh and cry.

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."

This is a vile and reprehensible motion picture.

Despite some minor issues in presenting and pursuing the time travel episodes, My Old Ass rarely missteps and that will likely earn it a place on my end-of-the-year Top 10.

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

The versatile actor brings the full weight of his talent to bear on a difficult role. DiCaprio has to hint at unpleasant secrets in Cobb's past while forging a bond with the audience. It's up to the performer to make Inception more about human beings than about special effects. He succeeds and that's one reason why this movie isn't only about challenging ideas and eye candy.

A fast-paced, engaging science fiction adventure tale.

Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."

This is unbelievably rich material, and I can say without reservation that Scott Hicks' work deserves the highest recognition. Shine truly does what its name says.

For those who enjoy ghost stories and are willing to be patient with a movie that gradually unveils its secrets rather than uncovering them all in an orgy of violence and terror, The Orphanage fills a need. The spell it casts early does not evaporate until the epilogue is finished.

The problem with Bones and All isn’t that it’s disgusting or shocking or transgressive; it’s that it’s a tedious slog.

For what we get, Dune: Part One is a great ride.

One of the best thrillers I have seen this year: tight, taut, and unpredictable.

Formula One fans who remember 1976 will no doubt delight in the film but, for those who (like me) were more interested in other things during the year of America's bicentennial, it's not only a good lesson in sports history but an entertaining two hours to spend in a theater.

By entering such fertile, intellectually stimulating and psychologically rich territory, Estes provides us with a freshman feature that is far beyond the generic coming-of-age tale Mean Creek initially seems to be.

The purpose of Bully is to educate and promote discussion. If the problem is not solved, there will be more Columbines and additional stories like Tyler and Ty's.

Most of the film is dull and soporific. Breathtaking photography without emotional involvement can take an audience only so far.

It’s not that there’s anything fundamentally wrong with the film. Some of the individual moments are impactful or effective at evoking nostalgia. But, as they say, the whole is less than the sum of the parts. It feels like a watered-down replica of other, better coming-of-age stories.

A film of uncommon depth, intelligence, and sensitivity.

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

It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.

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

It’s a promising debut for Kenrick behind the camera and Zovatto is excellent in front of it but it’s hard to shake the incomplete feeling that accompanies a viewing.

Petersen takes what could have been a muddled motion picture and structures it perfectly, creating a strong piece of entertainment. It helps, of course, that he has a capable cast.

Historical fudges aside, Hidden Figures provides an example of determination and talent triumphing over an unfair and repressive system.

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.

A rich, multi- layered portrait of a director from Hollywood's Golden Age whose own life was as interesting as any of his movies.

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.

Cyrus is affecting, but not in a clean, easily recognizable way. It is funny, but in a warped manner more likely to provoke unease than unbridled laughter.

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

The movie often feels more like film noir than a war picture both in the way it is shot and in the manner in which the characters are handled.

Sully proves to be by turns engaging, exhilarating, and nail-biting.

Fast-paced and often witty, but ultimately vapid.

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

Interstellar is simultaneously a big-budget science fiction endeavor and a very simple tale of love and sacrifice. It is by turns edgy, breathtaking, hopeful, and heartbreaking.