James Berardinelli

The pressure on filmmakers to equal or exceed the impact of a beloved original is intense. In a case like this, when the reputation of a movie has built over decades, expectations are elevated to an almost impossible level. With Blade Runner 2049, Denis Villeneuve has met those expectations by crafting a film that rivets the attention, excites the imagination, and engages the mind.

The movie does what all good thrillers should do -- provide enough shocks and surprises to keep us guessing, and never lets up on the suspense until the end credits arrive.

It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.

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

Georgia is a tour de force for Leigh, and her portrayal of the troubled, passionate Sadie lingers in the mind long after many of the movie's plot details have faded.

Fresh takes the setting and tone of Boyz 'N the Hood and Menace II Society and applies it to a thriller. Gone is the documentary-like quality of filmmaking as well as the gritty sense of immediacy. Fresh uses higher-quality film stock and a more traditional cinematographic style to distance the audience ever-so-slightly from the characters. This way, it's easier to appreciate the complexity of Michael's plan and the manner in which he arranges his masterful scheme of manipulation.

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

Like most unintended second installments, this one is superfluous – a remix of moments, scenes, and images from its predecessor infused with the need to make everything bigger and louder.

Although Arrival is about first contact with extraterrestrials, it says more about the human experience than the creatures from another world. This is a singularly powerful movie, without question one of 2016’s best.

Juno has a great heroine and is blessed by a screenplay that doesn't try to do too much and finds the perfect ending.

Although engaging at times, Fingernails is ultimately frustrating.

With Get Shorty, Sonnenfeld has shown that broad appeal doesn't necessarily equate with stupidity. That's a lesson Hollywood should learn.

Weapons is a step up for writer/director Zach Cregger from his promising horror debut, Barbarian – funnier, more unsettling, and ultimately more satisfying when taken as a whole.

Although it runs too long, it’s nevertheless an enjoyable and satisfying romp through the lives of one woman who makes “being the worst of her selves” an asset.

The cumulative experience leaves an aftertaste that, although not bitter, is too strong to be easily washed away. That's the mark of a worthwhile motion picture.

The Dissident is a solid recap of Jamal Khashoggi’s demise, but it left me wanting more than Fogel is able to provide, even though he hints at an issue of vastly greater importance than the death of one dissident.

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

The tapestry is large enough for the big screen and the overall experience will reward the movie-goer far more than something slick and superficial like Don’t Worry Darling.

Godzilla Minus One isn’t just a good Godzilla movie. It’s an excellent Godzilla movie – arguably among the best ever to grace the screen.

The characters are at the heart of A Simple Plan, and the gruesome complexity of their interaction elevates this film to the level of a midwinter treat.

The film, which has the ingredients for a thoughtful, tense thriller throws away a compelling first half so it can descend into silliness and clichés.

This movie is keen, clever, and -- most important of all -- a nonstop exercise in hilarity.

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

My evaluation is to wait-list Admission and catch it when it reaches the less demanding platform of home video.

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