There is so much to enjoy about Encanto — the songs, the gorgeous animation, the cultural traditions. All of which make the script’s serious shortcomings all the more surprising and disappointing.

"Norman” takes a largely unlikable character and inserts him into the center of its story, a gambit that seems like a surefire recipe for disaster. It’s not, thanks to Richard Gere.

It would be unbearable if it weren’t so completely self-aware.

It's refreshing to see an animated movie that doesn't look as though the idea for the Happy Meal came first.

Border brings to horror-fantasy the same Swedish sensibility that “The Girl With the Dragon Tattoo” brought to crime thrillers. Welcome to the land of eternal night.

Frank is a true original, a film that heads in one direction only to veer off in another, yet never loses sight of where it's going.

It’s the kind of movie that, if you give yourself to it, you’ll love.

Capernaum is a tough slog, no doubt, even by tough-slog standards. But that’s a big part of what makes it so rewarding.

Olsen makes us understand, as best we can, Martha's plight. She has a tenuous grip on reality, and, thanks to Olsen's performance and Durkin's sure hand, by the film's end, so do we.

It is indeed a beautiful film, but with each horizon tinged with sadness.

Not a lot happens, other than eating between small bits of drama and large doses of humor. If you saw the first film, you know how good that can be.

Hausmann-Stokes won’t let the film get sappy; Martin-Green and Harris ensure it. Instead, it’s an unflinching look at a health crisis, a film that arrives at what it’s trying to say through unconventional means, and is all the more effective for it.

The film is fascinating in its exploration of the give-and-take between art and commerce.

Laurel and Hardy embarked on their tour to stay relevant in the public's heart. Through this delightful representation, a new generation of viewers can experience their timeless comedy.

Martin Scorsese’s The Wolf of Wall Street is absurd, ridiculous, over the top, overindulgent, overlong, overstuffed, over-everythinged. And that is precisely the point.

Osmond may tell the story to wring maximum emotion out of the audience, but so what? Isn’t that why people make these movies? It is. And more importantly, it’s why people watch them.

The movie is more a collection of cool people telling great stories than it is a structured documentary (despite Camalier’s attempts in that direction). But in this case, that’s enough.

Shaffer's inexperience pays off. He's completely natural as a mixed-up kid (and great on the mat).

For some, it will be tempting to say The French Dispatch is easier to admire than enjoy. But if you go into it knowing what Anderson offers, you can do both.

There are laughs aplenty, some disgusting, some rather sweet, some both at the same time.

The performances are outstanding.

Some surprises are more effective than others. But what holds the film together are a couple of really strong performances by Charlize Theron and Mackenzie Davis. They have a terrific, and unique, chemistry that helps smooth over a few rough patches.

Clever and current without being cynical, smart without being condescending, funny without being exclusionary to grown-ups or to kids.

Gere is terrific. It’s a tough job standing out at a distance, especially when we have to make an effort to find you, but Gere always commands our interest and attention.

You don’t lose yourself in the film the way you might like, but there is never a second in which Oldman is not riveting.

If you can ignore the implausibility -- nay, the opacity -- of the plot, the film is wonderfully cinematic, with great photography, exciting editing, fresh camera angles and some impressive CGI.

A well-acted, nicely directed, quiet little movie.

Koreeda makes thrilling the rich inner lives of four young women trying to navigate rocky emotional terrain in the wake of their father’s death.