Stephen Whitty

The Front Runner works hard to accommodate all points of view.

Give Lawrence credit for a seriously emotional performance, at least, and thanks to supporting actors Moore, Sutherland and a sly Woody Harrelson for adding color and comedy.

Carefully made and perfectly acted.

This is a simple, macho morality tale—of the oppressors and the oppressed, of good and evil, and of the one man who sets out to settle the scales of justice. And the level on which it works is primal—and frighteningly effective.

Swiss Army Man's greatest challenge is to its audience. Just, exactly, how much will we sit still for? Endless scenes of Dano in role-playing drag, sporting a rag-mop wig and giving dating tips to a corpse? Frequent closeups of Radcliffe's furry flatulent buttocks?

Directed by, and starring, Don Cheadle, it's more about truth than facts. Did this all happen just the way it's laid out? Definitely not. But if the notes are wrong, the themes are right.

Jessica Chastain plays Sloane, and she's the kind of Washington power-player who'd scare off half the cast of "Scandal" — towering heels, pulled-back hair and a taste for the kill.

Come to Daddy starts out like a nasty drama, ends up as a gruesomely gory, coldly comic revenge thriller – and desperately loses its way somewhere in-between.

The movie is crammed with excitement and good humor.

The action inside the courtroom is compelling. This is a place where people duel with words, not swords, but the wounds can be just as deep and permanent.

Director Stefano Sollima, who cut his teeth on Italian TV mob dramas, is good at building suspense. He fills the screen with striking images, too -- night-vision raids, heat-signature tracking, eye-in-the-sky surveillance.

To its credit, even the film realizes how ridiculous it is. After one over-the-top hand-to-hand bout, Lorraine and her Boris Badenov opponent are left literally punch-drunk, swinging wild like a couple of stumblebums.

The movie...is a visual feast, one of the rare 3D films which was clearly designed with that extra dimension in mind.

The new Kong: Skull Island really gets it right — the exotic adventure, the spectacular special effects, the towering terrors. It’s a big hunk of nostalgic fun, reminding us of the 1933 original even as it monkeys around with the classic story.

The movie's no knockout, but at least it gives us one good performance, and one great one.

As a brief, brightly-coloured, virtual babysitter – lasting just long enough to keep the children diverted while you check in and out of that last Zoom meeting, and get dinner on the table – it dutifully fulfills its obligations. But anyone looking for much beyond that in this tale of a flying squirrel – well, they’d have to be nuts.

Even for a film about time loops, everything feels overly familiar. (Note to filmmakers: Simply referencing the film you’re stealing from doesn’t excuse the theft). And unlike Mark and Margaret’s do-over day, in the end the whole thing slips by without leaving any impression at all.

Both charmingly retro (dig that swingin’ score!) and confidently modern (girls run the world!) it’s a hip heist movie with a few laughs and some lovely fun.

In a way, the film is its own genre – the found-footage documentary. There are no interviews with other people, no self-described experts. Just Hoon, who – adding to the film’s melancholy sense of waste – comes across as an unspoiled, charismatic and mostly amiable young man.

Craig is cruelly efficient. Dave Bautista makes a good, Oddjob-like assassin. And while Lea Seydoux doesn’t leave a huge impression as this film’s “Bond girl,” perhaps it’s because we’ve already met — far too briefly — the hypnotic Monica Bellucci, as the first real “Bond woman” since Diana Rigg.

The all-new, mostly female Ghostbusters reboot is in theaters, full of terrific special effects, icky green slime, a horribly haunted Manhattan and, yes, the Stay Puft Marshmallow Man. But the big laughs you’d expect from a "Bridesmaids" reunion of director Paul Feig and stars Kristen Wiig and Melissa McCarthy never materialize.

At its core, The Kill Team has one great performance, and some important things to say – about the dangerous appeal of the strong, and the easy malleability of the young. It’s well worth watching, and thinking on. It’s just a shame that that great performance isn’t matched by all the others – and that what the film has to say is said in such a dutifully by-the-book way.

Director de Aranoa keeps things moving, though, with a firm sense of pace and a rough, punk-edged soundtrack.

As much a biopic of the show as of its stars, Being The Ricardos has a few good performances, and a cleverly structured (if factually challenged) script. But star Nicole Kidman’s performance is shaky, and Sorkin relies too heavily on an overbearing score to deliver the emotions.

There’s a new “Cars” pulling into theaters, but the series is out of gas.

Once the story drags Bourne out of retirement, it's just a bunch of fights and chase scenes, only occasionally interrupted by a few lines of dialogue.

Washington is terrific as Roman. The character may be unclear, but the actor’s commitment is focused, and his anger and indignation are sharp and painful.

Despite some great effects, and one good performance, it never quite gets underway.