William Bibbiani

All the edges have been sanded down so it can be safe and mainstream, but they went too far and there’s almost nothing left. It’s technically a movie based on 'Borderlands.' Not much else.

Doesn’t have the depth of Shyamalan’s most important films or the theatricality of his most memorably weird experiments. But it’s one of his best thrillers.

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

It’s a mostly harmless time-waster of a motion picture; functionally a movie but without too much of that pesky depth or entertainment getting in the way.

This film marks the emergence of a potentially great dramatic filmmaker, and that makes sense. After all, this is a great film.

The problem is that not enough of the fun rubs off on us, the audience, to make this experience truly worthwhile.

Isn’t so much a movie as it is a corporate merger with stabbings and wiener jokes. A shameless piece of self-congratulation, fueled by self-cannibalism.

What’s clear is that as a stylist, Perkins is at the top of his game. Maybe even the top of anyone’s game. As a storyteller, he’s either a bold innovator or just slapping dream logic onto old-fashioned pulp.

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.

Even though the conspiracy theory that NASA faked the moon landing is deeply and depressingly cynical, there isn’t an ounce of cynicism in Greg Berlanti’s sweet, comical and joyous film. “Fly Me to the Moon” uses great screenwriting and good old-fashioned star power to bring a far-fetched concept back down to Earth.

If all you want is another Beverly Hills Cop, here it is. If you want a great new Beverly Hills Cop, keep waiting.

It’s almost worth watching for Zac Efron and Nicole Kidman’s magnetism alone. If by 'almost' you mean 'not really.

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.

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.

Summer Camp is not a particularly good movie but it’s the kind of movie that makes a film critic wonder what 'good' really is, anyway."

Reminds those of us in similar situations that these painful paths are well traveled, and that the outward success we think might fill the holes in our souls usually turns out to be an excuse to push ourselves even harder. That’s why we cry sometimes when we’re lying in beds, just to get it all out, what’s in our heads.

This disturbing riff on 'The Country Girl' (the country ghoul?) never seems anything less than earnest and sometimes — all puns intended — a little confessional.

What’s worth taking away from the film is its peacefulness. There are moments of friendship and family and workplace camaraderie that are real and charming.

Kelsey Mann was able to expand on what seemed like a complete story in the original film and tell a new and potent one, and that’s impressive and commendable even though — like many Pixar films — it falls apart in the details.

An impressive and nearly-comprehensive overview that will probably have something to teach almost everyone in the audience, regardless of how familiar they already are with the topic.

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.

The Watchers' isn’t very scary and it’s only interesting for as long as it’s an intellectual curiosity, and it’s not intellectual curiosity for the full 102-minute running time.

It’s a film that’s full of love, but it’s an unhealthy love that’s detached from reality and the movie seems detached as well. It’s too maudlin to convey its own moral complexity and too foreboding to be sentimental.

There’s no escapism here, just like there’s no escape from our final repose. But there is a sense that how we face mortality matters, and that maybe — after watching this strange and wonderful film — we’ll be better equipped for that moment.

The sort of feel good family film the House of Mouse used to know how to make before the middling box office for Mira Nair’s exquisite 'Queen of Katwe' made them panic and delete all their files on how to inspire young audiences.

Hidden somewhere beneath all the generic dialogue, embarrassing plot, mediocre action and oddly ineffective performances, there’s a good idea in Brad Peyton’s Atlas. It’s a shame the filmmakers never found it.

When I say The Garfield Movie is the best Garfield movie, it’s going to sound like faint praise. Because it is. But faint praise is still praise.

It’s a pat retread of all the violence from the original film, with no emotional investment and no creativity in the mayhem department.