Roger Moore

The Lego Movie amuses and never fails to leave the viewer –especially adults — a little dazzled at the demented audacity of it all.

Gloria has a palpable loneliness about it, and Garcia makes us feel that and fear the emptiness that is staring Gloria in the face. Not a lot happens in this closely-observed character study, but few recent movies have dared to show this stage of life, the creeping solitude that memories of your disco past cannot fend off.

The stage magic here is the simplicity of the production — just characters in chairs, swaying in time to simulate a bus ride, singing as they do.

56 Up feels like the most hopeful film of them all - amusing, entertaining, and touching.

Director Nancy Schwartzman takes us into a crime, the investigation of it, the impact of reporting on that crime and the changing tides of local and national public opinion about what we used to call “date rape” in this gripping, disturbing and brilliant “anatomy of a rape” film.

As a movie, this One Night in Miami is more promising than polished, more righteous than riveting viewing.

It’s all a little hard to follow. But it’s always a wonder to look at, and even children will pick up on the fact that this is a different take on a classic tale, even if they, like the adults watching it with them, may sit on the fence about how well this hybrid story works.

Huston’s made his film with such care that the lack of other surprises hinders but never hobbles it.

An organized riot of images and sounds, Moonage Daydream is perhaps the only way a documentary biographer could approach the story of David Bowie. Brett Morgen (“Crossfire Hurricane”) has made his true masterpiece, the perfect film to celebrate a multifaceted life of aesthetic excess.

BlackKklansman is the funniest Spike Lee movie in decades, a film of such wit, tension, passion and relevance that it is his most important work since “Malcolm X.”

As amusing as Wallace’s sputtered reactions to their predicaments always are, as cute as the work song the singing gnomes compose might be — “We break out little backs, and never stop to have a brew ’cause we’ve got battery packs!” — it’s the parade of sight gags that sell these clay-animated comic jewels.

Under the Skin isn’t conventional, thrilling or particularly satisfying in a sci-fi aliens-are-hunting-us sense. But it manages something far more sinister and fascinating. It gets under your skin and imprints on your memory.

[A] sturdy, gripping film.

Antlers left me with the feeling of being the work of a top drawer craftsman who never quite reconciles himself to the job, who forgets the “nature’s revenge” theme and leaves the child abuse subtext under-explored, never builds suspense or any sense of rising panic in the town, the school or the sheriff’s department, and yet still manages to deliver a gruesomely good looking film despite all that.

This is an intimate epic that alarms as it sprints out of the gate, settles into a lingering tension and even as it is winding down, manages to keep the viewer frightened and on tenterhooks. That’s what living under a fascist regime is like.

Filmmakers Jimmy Chin (Honnold’s longtime cinematographer) and Elizabeth Chai Vasarhelyi get us up close, letting the camera do what Honnnold must do — extreme closeups of the rock face, intensely hunting for that next imperfection in the smooth granite, that next crack or crag that will move him further up the 3200 hundred foot wall.

Glass lets her story simmer and her characters brood for almost 80 minutes, Maud’s rapturous passion rising even as she lashes out — in sexual and self-injurious ways — at the deity who isn’t giving her direct answers. And then the writer-director slaps us right across the face with a finale that feels harrowing and somehow right and true.

Scorsese — narrating and appearing on camera — makes it both a personal essay on what their films meant to him, how he experienced them as a boy and student and the ways he’s incorporated their themes and styles into his own work, and a Master Class in understanding and appreciating the cinema of two of the medium’s greatest innovators.

A few genuinely (and literally) hair-raising moments, a few knowing winks and a lot to think about lift It Follows above the horror pack.

It’s predictable, downright conventional, considering how much more “out there” his breakout film, “Sleepwalk With Me” (also about a struggling comic) was.

This is “Southern Gothic” that lives up to its name.

A featherweight little charmer.

Locke will hold your interest as it presents a side of the burly, bluff “Dark Knight” villain we have never seen before on screen.

Co-directors Saul Williams and Anisia Uzeyma give us a sci-fi dreamscape, a colorful slice of Africa, lovely multi-lingual music, and a “There’s no such thing as a free iPhone” message in their musical. That’s quite the hack they’ve pulled off.

It’s all in good, violent fun until it gets to be too much and you realize they’re never going to top their big two-hour-mark throwdown.

It’s the detail, the sense of small lives closed off and growing more isolated that makes this film worth watching.

At this stage of this saga, you kind of know where it’s going and which emotional buttons will be punched, the ones I predicted way back in 1984 with my little "IV-I.V.” crack. Another two hours and 13 minutes of it, even with decent “Rocky” style (roundhouse punch after roundhouse punch) is hardly merited.

An engaging if undemanding romantic outing, newfangled enough to be social media-current, old fashioned enough to warrant bringing the whole family. Just remember to brush your teeth afterwards.