Karen Gordon

It’s a heartfelt film that seems to be aimed at the strength of familiar love in spite of difficulties. The elements are all there, but the film’s repetitive structures render it frustratingly flat.

It’s a fantastic mix of the funny, the astute, the disturbing and the brainy in the very specific style of Östlund. It’s a pleasure to watch it play out.

There is an overarching story and some obvious themes, including the extreme fear suggested in the film’s title. There’s also anxiety, masculinity, toxic femininity, toxic mothers, the road not taken, etc. But there’s also plenty going on beneath the surface, clues that a movie that is already surrealist enough, might be even more surreal than you can catch in one viewing.

Ambitious in the sweep of history that it chronicles, it’s a sometimes entertaining, often sordid movie about movies in the earliest Hollywood era. At a running length of just over three hours, it both makes its point, and overstays its welcome.

The movie looks great. The casting is wonderful.

Although [McCartney] uses her personal connection to the studio as the premise, If These Walls Could Sing ends up being a worthy history of a building that, for more than 90 years, has seen and withstood changes in music and technology, and still retains the magic that came from what the Beatles accomplished there.

What really works are the thoughtful and committed performances of the two leads.

There’s more depth than meets the eye, and When You Finish Saving The World manages to be sweet and yet not sentimental, and with much to contemplate after the movie ends.

As always, it’s what’s under the surface that matters. And that begins to change as the movie moves along and begins to twist and turn. And here is where the movie starts to have problems, arguably, both with the story, and in terms of tone.

It’s an easygoing, entertaining movie, boosted by its name cast. And sure, it doesn’t ask much of its audience. But sometimes a well done movie-length TV mystery is enough.

This is the feature film debut of veteran television director Tom George, and his experience directing comedy shows in the perfect comedy timing here. There are small bits that turn into running jokes through the movie. Then again George was given a lot to work with by screenwriter Mark Chappell, whose tight script uses every genre cliche in the service of clever fun. And this top-notch cast is a joy to watch.

Overall, Wolfs is not breaking new ground, nor is it trying to. But it is an entertaining couple of hours at the movies. That works for me.

True to Pixar’s magic storytelling, Lightyear offers a much deeper and more complex set of ideas for adult viewers on that very theme, without being heavy or depressing. There is much sweetness here.

Director George Miller’s Three Thousand Years of Longing, with its superb A-list cast led by Tilda Swinton and Idris Elba, plays quite nicely as an intelligent, warm-hearted, visually beautiful, movie that can be enjoyed at face value.

We can see the character’s angst, happiness and sorrow, but it doesn’t cut through. The film’s emotional life doesn’t quite connect and feels remote.

Unfortunately, despite these juicy elements, a star-studded cast, and a star director in Ridley Scott, House of Gucci is tepid and underwhelming.

It hits a lot of the right notes, but, overall the film suffers from a predictable plot. But Pugh and Garfield’s nuanced performances give the film empathy and depth that pulls us through.

Metaphors abound in The Secret Garden if you are so inclined. But the beauty of the story on its surface is enough.

Yeah, the movie does noticeably follow the formula. But still, it got to me. I rooted for the couple who didn't yet know what we knew from the beginning, and I even welled up towards the end, just when the film wanted me to. Predictable reaction. But then, it’s a rom com after all.

At its core, the film is the story of a man who has outwardly achieved everything that most of us imagine any artist or ambitious individual would want but still has to face himself. As we all do. The film captures that with real poignancy.

Joker has what may be the best lead performance of the year, but it is not for the faint of heart. Director Todd Phillips digs deep into the shadow side of society for one of the darkest movies in recent memory.

Victoria and Abdul is a beautiful looking costume drama with a dream cast. It may not be much of a surprise that Dame Judi Dench turns in another absolutely beautiful performance. But it is always joy to watch her in action.

A work of sublime sweetness and beauty.

Is this about forgiveness as a pathway to love? Lowery doesn’t sew it up for us in a neat package or give us the answers, but I have no doubt that anyone who resonates with the film will come away with thoughts of their own.

The two biggest questions I had going into Indiana Jones and the Dial of Destiny were: will it be fun and will the film stay true to the character of Indiana Jones. The answer, I'm pleased to say, is yes on both counts. It's a ton of fun. I had a blast.

This is Spinal Tap is now a movie classic. I wish I could say the follow up Spinal Tap II: The End Continues is as good. But, alas, it doesn’t really touch the beloved original.

After 28 films, it’s incredible that Marvel studios has anything new to say, never mind the ability to be fresh and entertaining.

Anchored by a solid performance by Tom Hanks, Finch, is a small-scale drama, that is ultimately — and please forgive me for being cliché — about the beauty of being alive. I mean that in the best way possible.