The film, wisely, is built around Hemsworth. He’s good at this kind of thing, and no matter how many throats he slits, you still root for him.

As cultural criticism, this commentary on life in the age of TMZ and the "Real Housewives" is hardly insightful, but it is executed to dizzying, Fellini-esque perfection, a miniature masterpiece amidst more modest amusements.

Abe’s performance is compelling in the way it captures the gap between who Ryota has become and how he wants to see himself, and Japanese screen veteran Kirin Kiki gives a terrifically nuanced turns as his again mother, pulled between the disappointments of the past and a fierce determination to find joy in her present.

If the path seems familiar — hard work and a good attitude triumph over all — it’s because it’s a successful one. Robles is a real-life hero worth rooting for; Jerome makes him relatable and human.

A surprisingly enjoyable movie.

Banks' enthusiasm and respect for the history of this franchise takes it from retrograde to fresh within minutes.

[Renner's] outstanding as a man passionate about his work. His character is not perfect — just ask his wife and children — but he is certainly a good man trying to do good things.

It's true that the language in the film can be harsh -- but it's also very obvious that kids are hearing this kind of language in schools every day, much of it directed at them.

Despite a solid storyline that adds to the series with a lively team of characters, there are parts of the film that could've been better.

“Raiders!” is as sloppy and imperfect as the kids’ shot-for-shot remake, but it has much the same charm.

It’s a slight film, but one that hits all the tricky emotional and comedic notes without a hint of cruelty.

It's a tired genre, one that would be greatly improved if, ironically, far younger actors showed the energy and command these two old hands do.

Even though Trial by Fire is less than a masterpiece, it still came as a gut punch that forced me to examine my own complicated feelings on the issue. In short, it taught me something, and that was a surprise.

Jordan’s tone is consistently drab and morose, which is fitting enough, but the story drags a bit, bouncing back and forth in time in a manner that is sometimes useful, sometimes not. Overall, though, it’s an intriguing addition to the genre.

Todd Strauss-Schulson’s meta send-up of ’80s sex-equals-death slasher movies keeps its goofy good humor throughout, and tosses in a little almost-genuine feeling into the mix for good measure.

The premise wears thin after a while and the humor is hit-and-miss, but when it's on its game The Wedding Video can be laugh-out-loud funny.

Comer makes Margeurite believably vulnerable and strong, haunting at times. But it’s not clear that the film is improved by the competing narratives. Marguerite’s version probably would have sufficed.

It’s weird, sometimes challenging and surprisingly engaging, thanks in large part to Terajima, who is outstanding.

Adult World is a happy surprise.

Despite minor hiccups, it really comes down to an entertaining time with no worries — er, "Hakuna Matata."

I’m not sure there’s a lot more going on here than a) the ultrarich are clueless dolts and b) everyone else will do just about anything to become part of the clueless ultrarich. And it’s all so over the top, that’s all it really needs.

It's oddly emotionally detached, easier to admire than to become involved in.

It does give Cera a chance to play at being a bad boy. But it's just that - playing at it.

Gadot is terrific, capturing perfectly the grace, power and heroism of the Amazonian princess who must make herself present in the world to save it.

The story takes some unexpected turns, which Crowe handles well, without overplaying them. Overall, The Water Diviner is a solid effort, a good, old-fashioned movie when it's not delving into soap opera.

It’s all joyous silliness, as a My Little Pony movie should be, packed with clean humor and pony puns.

It’s a genial, pleasant farce that grows more enjoyable once it calms down and stops being so frantic.

This is a good movie, but it lacks the visual wonder of the first, along with the sense of play at which von Trier, even at his most controversial, is so good.