William Bibbiani

Hyams’ film doesn’t make the most of its concept but, although it’s not a particularly interesting slasher, it is an efficient one. Fans of the genre will no doubt have a little fun with it. The fun just isn’t infectious.

Glorious, angry, hilarious, nail-biting fun from a director, writer and cast who all know exactly what they’re doing, and relish in the fact that they’re practically getting away with murder.

At last, an Aronofsky film where it doesn’t feel like he hates us. O brave new world, that has such movies in it.

The LEGO Movie 2 isn’t quite as funny or as brilliantly executed as the original, but it’s an ambitious, likable sequel. Kids will enjoy it and adults will appreciate that the filmmakers took it seriously, and tried to say something meaningful. Just don’t think about it too much, because the LEGO universe is often weird and confusing.

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.'

For a sequel to a nearly 30-year-old movie, Twisters miraculously stands out against the modern blockbuster landscape. Just like Twister did back in 1996. It’s the rare legacy sequel done right.

The pros don’t come from trustworthy sources and the cons require a lot more elaboration.

Scott Cooper directs Hostiles with an eye for quote-unquote “greatness” but the actual material simply isn’t deep enough to justify the solemn presentation. It’s not entertaining, it’s not illuminating, it’s not even complicated. It’s mostly just a bummer.

The new movie’s twists can only exist if they don’t contradict the previous films, so only a few surprises are even possible and those surprises can only happen in unsurprising ways.

Matt Shakman has done something Marvel Studios doesn’t do very well anymore. He’s made a superhero movie that embraces the 'super' part. And the 'hero' part. And the 'movie' part.

On one hand this reads like a Chaucer story, albeit a modern one that tackles topics even Chaucer would have struggled with. On the other, arch is still arch, so it may be hard for some audiences to appreciate Jackman’s wavelength.

Another star-making performance by Mia Goth — surely she’s a star now, right? How many star-making performances does it take? — and a trip back to the seedier side of a decade that’s been sanitized within an inch of its life by condescending corporate exploitation.

It’s easy to see what attracted Fraser to this material, since it’s almost mechanically designed to make him look good as an actor, and enchanting as a star.

An intimate and sensual and highly forking successful debut from Amrou Al-Kadhi.

It’s not bad, guys. But guys, it’s not good.

It’s not very funny, it’s not very dramatic. There’s a spark of intelligence here, a valid critique of doomsday culture and escapism, but it’s the sort of message you can easily get off of a cocktail napkin.

It’s impressive to see Orley mask the shiny simplicity of Big Time Adolescence in finely-calibrated performances and observant, mostly realistic dialogue, but the disguise falls apart after a while.

For all the emotional resonance and action-packed blockbuster mayhem in Guardians of the Galaxy Volume 3, it’s still got a lot of impish nonsense, jarring tonal shifts, and enough morbidity and outright gore that it’s now abundantly clear that the PG-13 rating doesn’t mean anything more. This is a movie that will probably traumatize some kids and maybe a few adults.

One emerges from the theater thinking we may have just had a good time, but the more it sits with you, the more you realize that no matter how epic the battles were — and they certainly were epic — they didn’t have anywhere near the same impact as the original.

It’s a frustratingly superficial, judgmental, surface-level thriller that undermines all its scariest moments by getting distracted at all the wrong times.

The only annoying thing about Summer of 69 is that this is the exact kind of laugh out loud, emotionally satisfying, share-it-with-a-friend comedy that would probably find a sizable audience in theaters — and instead it’s a Hulu exclusive.

Anna and the Apocalypse is a delightful Christmas/horror/comedy/musical hybrid, with a great cast, entertaining gore and a storyline that’s easy to take seriously… even though it’s fundamentally absurd.

The first two courses of this three-course meal were on the bland side. The third course is exciting, but by that point our appetite has waned, our interest in the company has dissipated, and we’re pretty much ready to go home.

Morgan Neville may have made the latest in a long line of giant LEGO commercials, but he’s made one with real human decency and soul.

The word Competent! rarely makes it into a movie’s marketing materials no matter how accurate it is.

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.

All the human strife, all the political squabbling, comes across like an excuse to be “badass” but high-minded about it. The film’s shootouts are “cool” but lack anything resembling a meaningful perspective, so when the characters talk about the political rationales for their violence, it rings hollow. And when the bullets fly, nothing else seems like it ever mattered.

It’s Diane von Fürstenberg’s life and I’m not even sure the rest of us get to live in it. We’re just allowed to peek through the window and be dazzled.