Roger Moore

In Fabric takes a while to settle in, and that goes for the viewing experience, too. It takes a few minutes for us to surf the wave Strickland wants us on, to get in sync with the vibe he’s going for...But rare is the horror movie that finds off-the-rack laughs in everything from ’70s fashions and consumerism to ’70s British sex and slang, and does it with haute couture style.

Del Toro’s robots have weight and mass, and their epic, Hong Kong-smashing fights with the four and six-legged, clawed and horned monsters are visually coherent, unlike the messy blur of the “Transformers” movies. There’s a light, humorous feel to “Pacific Rim” because the science is silly and logic takes a flying leap.

Yes, this remake is old fashioned, and maybe the “mark” (Alex Sharp of “How to Talk to Girls at Parties”) is a tad green and less interesting. But sometimes, it’s fun watching two wildly different stars mix it up in sumptuous settings, and seemingly have a ball doing it.

Accepted isn’t as thorough as you’d expect (Again, NO teachers are interviewed.). But it succeeds by not offering a simple black and white take on what went on and what is going on with how schools “accept” students and just how arbitrary that unjust system is.

Taken by itself, it’s thought-provoking enough to pass muster. Get “Get Out” out of your head, because truly, all Peele’s two thrillers have in common is hype.

The Big Short becomes not just amusing and explanatory, a real tour de force for its fast-talking cast.

Filmmakers Lowell and Mortimer were there to document every excruciating inch, with stunning Yosemite scenery as their backdrop for almost every striking frame. The film they got out of it is, like the experience they were documenting, one of a kind.

Among that promising cast, only Plummer and Ehle give us anything more than paint-by-numbers turns. Travolta? He’s a pale imitation of himself, as ill-fitted to the role as that odd prison soul patch he sports under Ray’s carefully streaked mop of hair.

A moving, hilarious and stunningly-animated adventure epic.

The stakes could not be more intimate and personal here, but as reassured as we might be that something like “due process” and “common sense” will prevail, Wright and O’Connor do a good job of playing people who aren’t so sure, whose faith in people — not the state — to show compassion has its limits.

It’s not one of [Zhang’s] very best, not on a par with “Hero” (Jet Li’s finest hour) or “House of Flying Daggers” even. But it still becomes a rousing, stately entry in the martial arts genre. Eventually.

The King is something of a tin-eared bore and a massive waste of time.

Stolen Vacation is a stumbling, slow-footed Mexican “vacation” comedy (titled “Viaje Todo Robado” in Spanish) that barely gets out the front door, fails to arrive at its destination and never once gets up to speed.

The Edge of Democracy won’t convince that “It CAN happen here.” It’ll make you wonder how far down the hole we’ve already tumbled.

It begins with grand promise and achieves spectacle — via digitally-assisted stunts, explosions, etc. — on a scale that raises the bar on popcorn pic action. If only it all seemed justifiable and logical.

The performances and the milieu, with its colorful colloquial speech and loving if blundering sisterly relationships, is what sells “Premature” and makes it an indie film well worth your time.

Skyfall is far and away the best, and the most British of the Daniel Craig-James Bond movies.

One serious omission in the film - identifying what these seemingly prosperous alumni of the band do for a living and did with their lives.

Vega makes Marina noble, martyred and yet defiant, fiercely clinging to her femininity when we’re so desperate for her to bust Bruno’s nose. It’s a performance of sublime, constrained fury and tender conciliation.

There’s never been much more than a fringe audience for anime in the U.S., which suggests that Hollywood might not be long in taking a live-action shot at this story. But whatever the budget, whoever the stars, they’ll have to go some ways to top the magic managed by artists and their brushes spelling out Your name.

It’s all just as soapy and unreal as “Downton Abbey,” with little of the mother-daughter-“sacrifice” of poignancy of “The Joy Luck Club.”

More a good movie of its moment than a great film, The Hate U Give is a drama built on messaging and a hand full of terrific, emotionally-charged scenes.

The situations are so arch and artificial as to make commenting on the acting (not empathetic) pointless.

Director J.D. Dillard’s film, “inspired by” the “true story” of Jesse L. Brown, a color-barrier-breaking pilot for the U.S. Navy, may be a straight up B-movie, from its lesser known cast to story beats that flirt with war movie tropes and over-the-top hokum. But it sure looks like an A-picture.

The movie's central gimmick isn't enough, and when more supernatural twists that don't play by the movie's own fantasy rules kick in, it lost me.

It almost (but not quite) defies description.

The film, which stretches history to its breaking point in some cases and finds deeper truth in others, looks at how the expediencies of war and the nature of tit-for-tat guerilla conflicts dehumanizes even the humane.

Writer-director Rian Johnson returns to the scene of the triumph with Glass Onion: A Knives Out Mystery, and finds the going a bit slower, the supporting cast less colorful, less venomous and less star-studded and the mystery quite a bit duller than the last time around.