Mick LaSalle

Even if you’d never in a million years want to ride with these guys, “The Bikeriders” makes you understand why they wanted to ride with each other.

The tone of “The Exorcism” is deadly serious, but one wonders if the premise might have worked better as a scary comedy rather than as a scary drama.

Almost single handedly, [Louis-Dreyfus] muscles “Tuesday” into the territory of being worth seeing.

It’s hard to say what McCarthy intended with “Brats,” but he ended up making a cautionary film for journalists. As such, it may have a limited audience, but if it’s seen by the right people, it might do some good.

Going into this movie, there was a question whether “Bad Boys” might just feel like entertainment from an earlier time, but instead it feels like a cozy return — at least as cozy as possible, given that the movie is extremely violent.

With “Young Woman and the Sea,” Gertrude “Trudy” Ederle finally gets the movie she deserves.

Ezra is an opportunity for Bobby Cannavale to show his abilities as a dramatic actor, but his performance is hampered by one thing: He plays an idiot.

In “Atlas,” Jennifer Lopez does everything she can to act her way toward a good movie. Unfortunately, she can’t do it well enough to make a difference.

Hit Man is not among Linklater’s best movies, but he gives his best to it, and the results are on the screen.

It’s awful. But it could be where movies are going — into a wasteland.

The script is hopeless in both senses of the word, offering no hope and lacking in quality. But I enjoyed the two victims, at least until they started screaming, and appreciate the way director Renny Harlin creates a sense of menace by his choice of lenses and his placement of the camera.

Back to Black holds back from wallowing in Winehouse’s dysfunction. Instead, like an authorized biography, Back to Black chooses to be kind to everybody. It’s not the flashiest choice, but the world is big enough for one kind biopic. Winehouse deserved to get lucky, at least once.

IF may have the sheen and aura of an expensive, important production, with a good cast and lots of famous names in voice roles (Steve Carell, George Clooney, Richard Jenkins), but the movie is a disordered wreck that confuses impulse for inspiration and dissipates any impossibility of impact by constantly switching focus.

It’s hard to know what Maiwenn was trying to accomplish here, besides giving herself a juicy and an entirely sympathetic historically-based role. She achieves that, and she’s good in the film — Maiwenn always is — but the “what’s the point of all this” question takes “Jeanne du Barry” down just a notch.

Based on the novel by Robinne Lee and adapted by Jennifer Westfeldt and director Michael Showalter (“The Big Sick”), the film is smart, realistic and emotionally honest.

There’s no apparent human feeling on display here, just scene after scene of protracted martial arts combat that goes on and on, while providing no rooting interest.

A tennis match can be a personal battle, a clash not only of athleticism but of mind, and Guadagnino gives every game and set the gravity of gladiatorial contest.

In the end, this is not really a World War II movie. It’s just a pretty good action film that borrows the plot from about three or four “Fast and Furious” movies, while stealing riffs from Tarantino.

This is a tense film that builds in impact as it goes along, and ultimately, it’s riveting.

Jones has many good moments, and “Don’t Tell Mom the Babysitter’s Dead” is a decent remake of a decent movie.

It's a special movie that can make you laugh out loud numerous times at gross comedy and then make you think and feel something, too. There’s also something to be said for a movie that seems like the most fun these actors ever had.

Between the lines, Scoop conveys, not only what Andrew most likely did, but what led him to assume that he’d get away with it.

Wicked Little Letters is for people who like British comedy, but also for people who think British comedies are too refined for their taste. This one isn’t. It’s crude and outrageous enough to appeal to modern American audiences.

The acting, the setting and a feeling for the time period make “In the Land of Saints and Sinners” more than the usual action movie thrill ride, though it’s that too. That combination of elements makes this one of Neeson’s best movies of the past few years.

DogMan won’t appeal to everybody, but there’s something to be said for a movie that makes you wonder if the filmmaker has gone crazy.

Because Gyllenhaal is a more complicated actor than Swayze, and more comically adept, the new “Road House” has more humor and more attention to the peculiarities of the central character.

For whatever faults she had as a candidate, Chisholm earned her paragraph in the annals of our democracy, and “Shirley” does a conscientious job of fleshing out her story.

This is what Hopkins has been showing us for decade after decade: the deepest, rawest and most tortured feelings of private, dignified men. His is nothing less than a glorious cinematic legacy, and the miracle is that he keeps building on it.