Luke Y. Thompson

Though perhaps too mainstream for the art-house crowd and too foreign for the multiplex, Born Romantic is a natural crowd-pleaser, and deserves to be more successful than its limited engagement may permit it to be.

The sensitive art-house viewer should be warned: Though slow-moving at first, the film ends in explosions and violent death, with a level of sadism that will undoubtedly prove too intense for some viewers.

Not everything jells, but Click is funnier and more elaborately clever than anything Sandler's done in years.

Like "Fight Club," it's a brilliantly made film that will be despised for the right and wrong reasons; if you don't see the humor in it any time during the first half-hour, leave. If you stay, you've passed the test--sit back and enjoy one of the year's finest films.

As a gallery of the grotesque, however, the cinematic equivalent of a Joe Coleman painting or Adam Parfrey publication, The Salton Sea is a blast.

Once this movie gets going, it works, and it works well. It has a slow buildup, but its final third manages to generate some eye-popping thrills.

Ustaoglu has pulled off a rare feat in this film, enlightening us about a horrible situation while never losing sight of his central tale of friendship and loyalty.

What it lacks in story, it makes up for with sharp dialogue and an amusing Walter Mitty-esque style.

Soderbergh seems to have found his vision again. It'll be a great day when he returns to writing his own material, but until then, this is none too shabby.

Fans who tune in mainly for the insane timeline twists won’t get them, but otherwise, this is the most satisfying Saw installment since the first three. Also, be sure to stick around for a mid-credits scene.

Hypnotic isn’t just refreshingly straightforward for Rodriguez, but for Ben Affleck too.

Childhood is hard, and childhood grudges run harder. The Innocents pulls no punches in turning that fact into horror.

The result is a movie likely to appeal as much to anyone who enjoys pop-scored animal hijinks on TikTok as to anyone who actually remembers the books.

Where visuals of certain events are unavailable, like Scurlock writing in his journal at night, fully colored and animated storyboards fill in the gaps. It’s an odd semi-glorification, even as How To Rob A Bank throws in a few token mentions of robbery survivors with PTSD at the end, and offers a sense that Scurlock fell into the Butch Cassidy trap of being so hooked on robberies he never knew when to quit.

It’s obvious that Finn draws heavily from his own favorites, but Smile suggests that their skill and effectiveness have successfully been passed along to him.

When the all-important moment of catharsis that every good scary movie requires comes around, it’s palpable. But writers, and other creative types, just might feel it a little bit extra.

While we may soon tire of movies using the pandemic as a narrative catalyst (if we haven’t already), Katie Holmes’ Alone Together feels vitally of-the-moment at a time when so many films are ignoring the poignancy of that moment altogether.

Stolevski ably balances art-house and horror tones to a degree that fans of both will appreciate, but like the film’s pointedly empathetic point of view, his emphasis on each helps fans of one style understand and appreciate the other.

Beautifully shot and finely acted movie.

All in all, a respectable and predictable adaptation.

The musical numbers are energetic and fun.

Props to translator Nigel Palmer for keeping the subtitles witty instead of blindly literal.

May not have the best script in the world, but it brings Jet Li to the big screen in a way that all action junkies, not just the video-store geeks, will appreciate.

Is The Break-Up worth your time? Let's put it this way: Whenever Vaughn is onscreen, it is. When he's not, it ain't. The movie's a comedy, but it's also about a breakup, so it gets a bit maudlin toward the end.

And remember, this is just part one of a trilogy. While all may not be clear yet, there's certainly enough here to make you curious about the other two parts.

This film is just too damn weird to pass up, and for the blacklight crowd, way cheaper (and better) than Pink Floyd tickets.

Unlike in, say, "Fight Club," director Hans Weingartner does not hedge his bets on the notion of whether simple-minded anarchy is any better than societal conformity -- his heart is with the Edukators, period.

Ferrell owns the screen.