Stephen Whitty

Watergate is a fascinating film that both draws disturbing parallels and offers the opposition encouragement.

Anchored by standout performances by Naomi Watts, Octavia Spencer and young Kelvin Harrison Jr., it’s a strong indie film about race, family and trust that should connect with fans of smart, provocative cinema.

For a movie that’s supposed to be about a modern-day Geppetto bringing his dolls to life, the wooden Welcome to Marwen never makes it out of the toy box.

Jordan really commits, and his scenes with Thompson have genuine warmth and intimacy.

The smartest kind of sequel, Ralph Breaks the Internet remembers what you liked about the first film. And then, not only gives you more of the same, but something different.

The switch between moods—obvious comedy and sermonizing message—comes often, and clumsily.

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

In the end, perhaps, von Trotta’s search for Bergman never quite finds him. But did he ever quite find himself? All he knew was that he was an artist.

Foy and Alvarez have still spun the old and new elements together in an effective web. If this is a trap, it’s one you won’t hurry to escape from—or even fear being caught in again.

For fans of this goofy sort of comedy, or of Atkinson’s similarly loopy “Mr. Bean,” it may be a gentle treat.

The first-time filmmakers have little idea of pace, or imagery. Flatly lit, squarely staged, the scenes just plod on.

There are no surprises, and the addition of a supposedly mysterious killer fails to add any mystery.

Why is she attracted to him? For that matter, why are we watching?

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.

although it’s far too fannish—this is not a movie that wants to dig deep into anything uncomfortable—it does give the rocker her props, while reminding fans of some modern rock history.

Even if you disagree with Moore, it’s hard not to admire his bravura filmmaking.

A few minutes into The House with a Clock in Its Walls, you realize Eli Roth knows what he’s doing—and that means carefully mixing the scares and stillness for a horror comedy that’s made-to-order for certain monster-loving 10-year-olds.

The film—Weitz’s first since 2015’s indie Grandma—feels a little cheap and shortchanged.

Too much of Kursk revolves around scenes of sodden sailors sitting around wondering why someone doesn’t just hurry up and rescue them. A sentiment likely to be shared by some audiences, as well.

This is a film with the logic of a dream, which is to say, no logic at all. But it also has the power of a nightmare. And, like some of them, it lingers.

Slim movies like this live or die based on their personal charm, and the sour Destination Wedding soon wheezes its way into the ICU.

It’s not a great movie, but it’s a good reminder of why Rockwell’s admirers have happily stuck with him for decades.

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

It’s a raunchy, rollicking story of movie legends off the set and between the sheets.

It’s a movie made with an insider’s knowledge (directors Ben and Orson Cummings are both proud graduates of the school) and affection (Shaquille O’Neal is one of the producers, as is art-world titan Larry Gagosian). And yet, while it has heartwarming moments, it’s not a predictable, eager-to-please entertainment.

It’s a deliriously silly, often preposterous movie...but director Susanna Fogel keeps things moving too quickly to leave much time for complaints.

It’s not just “Impossible,” it’s irresistible.

Casal and Diggs have both lived these roles for years, so it’s not surprising that they never deliver a false moment.