Soren Andersen

It’s a fun, satisfying picture.

A knowledge of the novel is helpful as well.

Arnie, oddly, supplies a significant amount of humor here. His Terminator has developed a kinder, gentler side over the years, asserting “I’m a very good listener and I’m extremely funny.” Well, maybe not “extremely,” but yeah, he actually is.

Henry’s performance is delicately nuanced. His character is by turns cheerful, ruminative, anguished. His performance and Lawrence’s are complementary. They play off each other well.

Kids will love all the silliness, but oddly the greatest resonance of the Wayback Machine plot will be felt by the kids’ grandparents (if any find themselves in attendance) who were around in those bygone days.

Creative Control is a hypnotic voyage into a society where technology addiction comes to rule and ruin those who fall under its seductive spell.

The movie’s main drawback is that its main characters are surprisingly ill-defined.... It’s a frustrating flaw in an otherwise engrossing picture.

Lively, fast-paced and ever so familiar, the picture is a happy addition to the holiday. It’s worth leaving the house to see.

Thanks to the excellence of its two key performances, “Stockholm” an uncommonly effective thriller, one with a heart and a brain.

As an homage to Friedkin’s movie, Green’s take is respectful and genuinely scary. Let those tubular bells chime forth in celebration.

What distinguishes “Girl” from most zombie pictures is Nanua’s appealing performance and a chilling scene toward the end.

You come to an “Alien” movie with certain expectations: creepy thrills, impressive production design, chest busters, acid saliva. Going back to basics, Scott delivers what we’ve come to expect in “Covenant.” And how.

The fat suit is in a sense a distraction in that you wonder how Fraser was able to act within it. But the fact that he does so and so effectively makes The Whale a searing, moving experience.

On the whole, “Spies” is a very nice trifle turning up just in time for the holidays for families seeking a kinder, gentler alternative to “Star Wars.”

There is fragility in the beauty we see. The picture drives home the need to safeguard it. It is, after all, our home.

The prime attraction of this movie, and its predecessor, is that it envelopes the audience in the Mario world. Every square inch of the screen, from top to bottom, corner to corner, is packed with images derived from the game. Easter eggs abound. Watching it is akin being inside the 2007 Super Mario Galaxy game itself. Which is why it needs to be seen on the big screen. Seeing it on a phone or a laptop wouldn’t do it justice.

Two very strong performances anchor Potato Dreams of America, Seattle-based filmmaker Wes Hurley’s thought-provoking dramatization of his childhood in his native Russia and, later, as a teen in Seattle.

Using a rich trove of archival footage and interviews with Cernan, members of his family, other former astronauts and key Apollo mission figures, director Mark Craig charts the flight path of Cernan’s life.

The picture is like an onion. There are layers here, and beneath them more layers. Peeling them back with surgical skill, director Alexandre Aja reveals complicated family dynamics.

Jackman and Stewart give perhaps the most heartfelt performances that they’re ever brought to an “X-Men” movie. Though the tone of the movie is pervasively downbeat, they’re both going out on a very high note.

A virgin, defiled. A pact with the devil, consummated. Erotomania, running wild. It’s Belladonna of Sadness, and in it there will be blood. And watercolors.

It’s all pretty silly, but the way “Parabellum” keeps topping itself and then topping the toppings makes the picture eminently watchable. It’s a guilty summertime-movie pleasure for sure.

What the picture lacks is a certain spark. It’s a workmanlike effort that diligently covers a lot of bases...but never achieves a transcendence that befits a figure like Owens.

An Inconvenient Sequel is both a rebuttal and a rebuke to the voices who vociferously disparage him and his cause.

The picture itself is more workmanlike than transcendent. It marches along but doesn’t soar.

The story is strong, the music is appealing. Abominable is delightful.

The picture is a no warts-and-all look at Francis’ papacy, but rather emphasizes his humanity and humility. Those personal qualities and his words are sources of hope In this politically fraught and fevered age.

When greed runs up against conscience, you’ve got a story. It does in Triple Frontier, and the story of that collision is a violent and thought-provoking one.