William Bibbiani

The Oath is a film of its time, and that immediacy is both its strength and its downfall.

If you can accept the fact that it’s big, silly and brainless, and nowhere near as good as its obvious influences, and also that it’s shameless propaganda, it’s still possible to have a good time.

Absurd as it is, Moonfall represents yet another bold stroke of maximalist grandeur from a filmmaker who excels at making overwhelming chaos look beautiful.

Screamboat' is not a great movie by any stretch but if Ricky Jay was editing this footage in a scene from 'Boogie Nights,' he’d have to turn to Burt Reynolds and admit: 'It’s a real film.'

Questioning the moral fortitude of these comedies used to be something only critics did [...] Now Roommates is getting in on the act and I respect the film’s sense of introspection. I just wish it had funnier jokes.

The Hummingbird Project is most of a great movie. Amiable performances and a deft pace combine with high-contrast storytelling, and the results are generally engaging. Sometimes funny, sometimes smart, always watchable. But perhaps the film’s dedication to turning a clever tale into something profound was a miscalculation. Perhaps there were simply better ways to spend the time.

There are exactly enough thrills to fill a 90-minute movie, including the closing credits. No more and no less. So thank god 'Elevation' is short or it probably would have stunk.

These above average, slightly forgettable movies may not live forever, but Theron’s badassery might.

The film can’t decide if it wants to be truly bizarre, which is when it’s funniest, or simple and sweet, when it’s the most dramatically effective. These aren’t the worst problems for a movie to have.

Eenie Meanie plays like a decent adaptation of an unpublished Elmore Leonard novel. Even the title looks like it should be on a spinner rack next to Freaky Deaky and Rum Punch.

Wheelman has a few great action sequences and one interesting idea, but is let down by a mediocre screenplay.

The contrast between the impossible events happening on-screen and the hyper-realism of the imagery doesn’t always work in the the movie’s favor.

At its best, All the Money in the World is a rich and exciting story about a woman trapped in a universe of apathetic and powerful men, fighting her way out any which way she can. At its worst it’s a well-shot but ultimately middling thriller.

The best that can be said for 'Day One' is that if this is your first A Quiet Place, you’ll probably get swept up in it, and want to watch the other two.

The Ghost of Peter Sellers is a movie that seems to have been made by Medak, for Medak. It’s a mildly interesting footnote in cinema history, and worth watching for Sellers fans, Medak fans and aficionados of obscure cinema (you know who you are).

It’s a well-intentioned comedy with funny performances and a handful of great humorous set pieces. If it feels as though it’s three or four different movies fighting each other for dominance, then at least those movies are all, in their own separate ways, relatively entertaining and amusing.

Part throwback, part update and a little bit creaky, it’s all-in-all an excellent showcase of Izzard’s wonderful talents.

Minahan has made a film about embracing life when you’re not legally allowed to, and he refuses to make watching it a misery, no matter how rough it gets.

Jason Statham knows how to Jason Statham, and as usual, he Jason Stathams Jason Stathamly.

The familiar story and underdeveloped characters aren't nearly as magical as the animation, but there's still a lot to enjoy in Mary and the Witch's Flower, even if it's not Hiromasa Yonebayashi's best.

Bertino and Fanning are deeply committed to going to dark places, and they take us along for their freaky little ride. Whether it makes sense or not. (Probably not.)

Kudos to everyone here for doing their jobs, and for doing them reasonably well, but the end result of all the effort is a film which, when people talk about How to Train Your Dragon, will eventually be referred to as 'no, not that one.

Joaquin Phoenix gives an admirable performance as an interesting artist, whose life story otherwise gets the short shrift by this conventional drama with a frustratingly narrow focus.

These Greenland films may not always have a coherent point, but when they focus on the nuts and bolts of survival and the toll that surviving takes on these characters, they’re efficient, effectively crafted genre pictures.

Some movies are movies. Other movies are cocoa. A Merry Little Ex-Mas is the latter.

My Dead Friend Zoe' is a noble film, seemingly honest and open. It’s not a terribly exciting one, and it struggles to justify its modest length, but plot isn’t everything.

It’s that rare action movie that succeeds because it’s challenging and intriguing, which is a nice way of saying that maybe it could have kicked slightly more ass.

It’s a shame that The Maze Runner movies are going out on their flattest note, but The Death Cure isn't completely off-key. Wes Ball has directed every entry in the franchise and he’s evolved into a very skilled action filmmaker. Complex set-pieces with an incredible number of moving parts are depicted clearly, excitingly, and with visual panache.