Soren Andersen

What Warner undergoes in Crown Heights is difficult to watch. Yet in the end, remarkably. there is triumph. And, finally, justice.

Reynolds is playing what amounts to the straight man to Jackson’s bad boy, and the back-and-forth between the two, with his character stewing and steaming in exasperation at the killer’s taunts, gives The Hitman’s Bodyguard its special fizz.

Freidel illuminates the inner struggle Elser goes through as, buttressed by his conscience and his Catholic faith, he finds within himself a strength of character and brave defiance that defines him as a hero in the truest sense of the word.

In the vast canon of King-derived movies, “Tower” belongs in the upper ranks.

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

There is absolutely nothing new under the many suns in Besson’s universe. This is a voyage not worth taking.

Serkis again proves that in the highly specialized realm of performance-capture acting, he has no peer.

The special-effects sequences are up to the usual high standards of Marvel excellence, but by far the best elements of “Homecoming” are the writing, which brims with humor, and the performances.

It’s a standard kiddie cartoon: noisy, colorful and forgettable.

When words fail in The Last Knight, the crunching and crashing and KLANKing of the special-effects scenes take up the slack. Punishingly overwrought in every aspect, Last Knight is a KLANK! KLANK! KLUNKER.

The Book of Henry launches itself into cloud cuckooland and never returns to Earth.

Solid storytelling, a longtime strength of the best Pixar pictures, elevates Cars 3 into the pantheon with the studio’s finest.

With all of Shults’ dark-night-of-the-soul mood manipulations, the film promises more than it delivers. Its buildups are impressive, but in the end its frights are mild.

The friendship of George and Harold is celebrated, and the cheery vocal work of Hart and Middleditch gives the picture its sprightly spirit.

It’s all just a day at the beach, harmlessly fun and instantly forgettable.

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.

Taylor-Johnson’s agonized performance holds the audience’s attention, but his portrayal doesn’t really take the character anywhere.

Thanks to its two central performances, Chuck is a solid contender.

It’s a rare misstep for the usually sure-footed folks behind the Marvel Cinematic Universe.

With her wonderfully expressive face, Clarke carries the picture, navigating her character’s gradual transformation with grace and conviction.

"Guardians” stands apart because it’s somehow truer to a comic book’s essence than any Marvel or DC-derived picture you can name. Which is to say it’s pulpy, kind of cheesy and giddily exaggerated (and aware of it) in a way that, say, the “Thors,” the “Captain Americas” and Christopher Nolan’s Batman movies are not.

Hunnam speaks in low tones, practically murmuring his lines in many scenes, which seem at odds with the underlying fierceness of Fawcett’s resolve. His manner is almost diffident, yet he’s steadfast in his purposefulness.

Its take-no-prisoners pacing [takes] it up a notch from the average low-budget shoot ’em up.

What the movie makes clear is that that deeply spiritual moment represented a triumph of management.

Weaver’s Kay is a fanatic.

It’s somehow only fitting that with Scarlett Johansson in the lead role, Ghost in the Shell leaves you with the feeling that something has been lost in translation.

It’s all very bizarrely, pointlessly complicated.

T2 is a sequel that is at least the equal of the revered original.