Yes, if you have watched more than four or five movies, you probably recognize the setup. It’s the execution that makes Hustle more than just a run-of-the-mill sports film. Not always a lot more, but more.

The road-trip comedy is well-traveled territory, especially in indie films. But there's something unexpectedly refreshing about Land Ho!

Hall is a workmanlike director, taking a meat-and-potatoes approach to the story. But it fits the subject matter here. Thank You for Your Service is not a great movie by any stretch. But it is a good one, and perhaps more importantly, a necessary one.

These characters are more than willing to risk their lives to further advances in science. That’s a passion and dedication that fuels Europa Report, and Cordero makes the most of it.

Thanos is the most interesting, and most complex, character here.

In "The Player," Robert Altman carves up Hollywood with knowing, surgical precision. Cronenberg is a gifted filmmaker in his own right, but here he takes a meat-ax to the place. He gets what he's after but leaves quite a mess.

A fun and thrilling film which at times plays like a car race somebody stuck a movie into the middle of.

There's something refreshing about a movie that knows what it is, and what it wants to be. John Wick is that kind of movie.

The sequel is even more “all about Al,” but ironically, with any question of another electoral run put to rest, the results work better as cinema.

In a movie with uniformly outstanding performances, Rockwell, as ever, is especially good. So is Carell, playing against type. But what makes The Way, Way Back stand out is Faxon and Rash’s obvious familiarity with what Duncan is going through.

Despite its emotional coldness, the film still manages to end on a note of something like hope.

The authenticity that Collette brings to a woman desperate for some kind of change and the willingness to seek it is inspiring. She’s the real winner here.

It seduces us with imagery and metaphor.

Once you see that ape, named Caesar, riding a galloping horse in triumph, it's awfully hard not to get sucked in. It's not dumb fun, exactly. It's smart dumb fun.

Instead, the story is largely told from Dahmer’s perspective, and we know too much about where he ends up to feel anything like sympathy for him. It’s still a morbidly fascinating peek behind the blood-stained curtains.

In Bethlehem Adler tries to make some sense of that world, and to the extent that it's possible, succeeds.

At 2 hours and 43 minutes, it’s a long goodbye for Craig. Too long, really; parts of the last act drag a bit. But as Bond says earlier, “Letting go is hard.” In “No Time to Die,” it’s also satisfying.

Even at less than an hour and a half, the film is, shall we say, patient in unfolding its story. Part of this is set up, lulling the audience for the shocks to come.

It's Kikuchi who carries the film. She gives Kumko a sense of dignity and strength in the face of absurdity, and does so with few words.

“Brats” is definitely McCarthy’s journey. What saves it are the people he brings along for the ride.

The risk of telling three distinct-but-related stories is that all may not be of equal quality. That’s the case here, as the movie starts strong but gets progressively weaker, particularly in the third act.

The film is interesting and at times enlightening, but it's all over the map.

The real power of Beatriz at Dinner is that it isn’t about politics but the human heart. Beatriz and Strutt are not arguing legislation; they’re arguing two visions of the American dream, two visions of the human soul.

Truth, justice and the American way” mean far different things than they did when Donner made his “Superman” film. Except they don’t. Some people have just tried to hijack them for their own political purposes. “Superman” is Gunn’s attempt to take them back. Let’s hope it works.

An engaging film that’s head and shoulders above the average talking-head parade.

The best thing about Ghost Stories — and there are a lot of good things — is the confidence of its directors.

People Places Things is filled with that kind of heart-piercing comedy that makes a viewer cringe and laugh at the same time.

Neighbors is not the classic raunchy comedy it wants to be, but it certainly isn't for lack of trying. And when it's funny, it's really funny. Just not as often as one might hope.