Luke Y. Thompson

It's a visually poetic style, and likely to find hardcore devotees, especially among the ranks of Terence Malick and Marc Forster fans. Others will just find it painfully slow.

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

The film generally looks like a TV special, with low production values and lots of closeups.

Even Hartnett, designated Next Big Thing last year, seems like he's barely trying.

Kennedy is funny, but too cartoonish to ever identify with -- Diggs and Anderson are the real stars of the show, and need more screen time.

What saves the film from utter forgettability are the strong supporting performances, especially from Peter Caffrey as the town atheist, and Tony Doyle.

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.

Just be advised guys, Blade II is as estrogen-free as movies get, so you might want to leave your date behind for this one, or she's gonna make you feel like you owe her big-time.

Stripped of every major scary moment and restructured in what feels like a deliberate attempt to remove all suspense, this "horror" movie is now a domestic soap opera.

Since more moviegoers are likely coming to a Magic Mike movie for the moves than the plot, let it be stated the moves are outstanding, even if the movers remain mostly blank slates.

If you really want to live life to the fullest, step one is to avoid wasting an hour and a half of your life in a theater showing Last Holiday.

As family reunion trauma flicks go, The Sea is by no means up to the standards of Thomas Vinterberg's "The Celebration," but it does make clear that Kormákur is a director whose evolution will be interesting to watch.

The prettiest Dogme film to date may be the one that has the least to say.

The Drop isn’t really about dropping a baby. But it’s not about much else, either.

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.

What results ultimately plays like a feature-length episode of an HBO comedy series like Sex and the City -- gratuitous nudity and all.

It's dull enough to make a Mormon fidget.

Their (Tunney and Nelson) interplay is what saves the movie, and possibly should have been expanded upon to the exclusion of the other plot points.

It’s basically a high-caliber book-on-tape augmented with actual (as opposed to horror-movie fake) found footage — a missing link between full-on dramatization and simply reading the book while imagining visuals.

Assassination Tango is Duvall's fourth, yet it still feels like a first film; worse yet, it feels like a waste of an undeniably great actor.

This may not seem to be the stuff of comedy, but a comedy it is, and a compelling one too, laden with hot sex and standout performances.

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.

We so often hear the lament that Hollywood films don't have characters we can care about that it's a real pleasure to note that all the people in this one feel fully developed. It'd be nice if there were more of a plot to go along with them.

Imagine a feature-length version of the "Large Marge" sequence from "Pee-wee's Big Adventure" and you won't be too far off, only that was scarier.

Director Rob Connolly may well think he's upping the stakes by plunging his film into borderline horror territory, but in fact he's minimizing them.

The movie is perhaps most successful as a preview of greater things to come from both Hughley and Union.

One of the season's biggest delights.

The next time Irwin wants to make a feature, however, he should find a director who knows how.