Jordan Hoffman

The actual plot of this movie is confusing and idiotic (I really had no idea what the main baddie was trying to accomplish), but luckily, this is not an obstacle to having fun.

Prepare for more gruesome kills, more gross-outs, more insight into how a society might actually look a generation after an unfathomable event. These movies are clearly infectious.

For flash and rumble, F1 doesn't have an equal this summer. Roll down the windows and enjoy the ride.

Straw is not exactly subtle, but the emotions are so raw and the performances are so earnest that you’ve really got to have a heart of stone not to care for these people.

Somehow, The Final Reckoning is 170 minutes, but, like Tom Cruise running across Westminster Bridge, it zooms. Even the acres of baffling dialogue are delivered swiftly.

Formulaic, dare-I-say-sappy movies, when done right, can be really good, and Nonnas is one such example.

A lot of what works in the movie does so due to the talent of the performers. There aren't a lot of jokes or killer lines in this, but little bits of business that Pugh and Russell, in particular, make work. Harbour's loud, boorish Russian bear is funny at first, but alas, gets tiresome in a short amount of time.

The ludicrousness on display here is enormous.

If you do not find yourself hootin’ and hollerin’ at Viola Davis — excuse me, President Viola Davis — packing automatic weapons, tossing grenades, and charging into a helicopter, well, your loyalty to good, idiotic fun might be questioned.

That the specific task at hand in Warfare is so vague is a good reminder that though this happened 20 years ago, there are people right now who have been ordered to enforce political will with violence, and this savagery will likely repeat for all time.

Jared Hess, co-creator of Napoleon Dynamite and a string of other small oddball pictures, brings a fresh perspective to what could have been a lumbering IP-pallooza movie.

All of the action is shot cleanly, and I could always tell where everyone was in relation to one another during the setpieces — which may not sound like much of a win, but if you think that, you clearly haven't watched too many direct-to-streaming movies. If you want something done efficiently, hire a union man.

It's got the thrills, it's got the creepy-crawlies, and it's got just enough plot to make you care about the characters. Alien: Romulus is a hell of a night out at the movies.

I'd place it more alongside the enjoyable The Visit or Split, and, indeed, there are some story commonalities with both. It is, however, masterfully shot, with great use of wide angles, cropped frames, and a sense of foreboding inside and around the concert venue.

What’s most impressive is how Perkins collects his simple component parts and somehow transforms this into such an unnerving film. Longlegs is definitely a step above the others.

There's a ton of technobabble that you have to take on faith, but Jones and Powell do more than sell it; they make it compelling.

As with the others in the series, this is not an upbeat picture, but it is effective and unsettling without being too gory.

Julia Louis-Dreyfus, a treasure as always, basically plays it straight and is terrific.

Though Nicholas Hoult is charming as he struggles to find inner strength, Renfield lives or dies by Nic Cage camping it up. And he delivers.

The entire picture exudes the wide-eyed (some might say immature) wonderment found around slobbering beasts and magic spells. No, you absolutely do not need to know a thing about D&D to like this. But if you have a familiarity with the Forgotten Realms, the 1980s D&D cartoon show, or if you’re just a Led Zeppelin fan, there’s something here for you. Otherwise, there’s too much going on to ever feel left out.

And while it is enjoyable and has many great moments, it doesn’t quite come together with polish.

For his third feature, Cronenberg the Younger doesn’t ape his father’s style so much as he expands upon it. With Infinity Pool, in comparison to Cronenberg the Elder’s good-but-not-great Crimes Of The Future, you could even say he’s perfecting it.

If you buy a ticket for this one, just know there’s no First Class option. But with moderate expectations, you’ll still get to your destination.

While witnessing the physical act of love on screen can sometimes transcend into something with great depth, this is, sorry to say, not one of those cases. It’s just a lot of huffing and puffing.

It is extremely clever and deeply moving, and winningly gets at the essence of Goldin’s current and past work, without straining too hard to ape her style.

You don’t need to be a fan of the accordion-toting Yankovic to get some enjoyment and laughs out of the gleefully absurd Weird, but it sure wouldn’t hurt either.

It asks more questions than it answers, and doesn’t let anybody off the hook. It’s also a great movie for anyone who grew up in New York City area in 1980, with the right needle drops and art direction. This is James Gray’s eighth feature and, in the end, his simplest. It may also be his best.

Amsterdam is not a great movie by any shakes, although it looks terrific and all of the performances . . . are energetic, entertaining, and enjoyable.