I like movies like “Rosario” — creepy little horror films with enough scares to keep you on edge and enough of a story to keep you invested.

Just when you're ready to throw in the towel, Plummer does something that keeps you going; maybe it's the quietly affecting way Jack turns up the twinkly charm as age and illness are starting to take things away. Then there's Farmiga's ability to mine a laugh out of angst and yet remain human, and MacDougall's sly, sleepy charm.

There’s a lot to be admired here, and After the Wedding certainly gives you a lot to think about. It just doesn’t quite make you feel all the feels.

For all its issues, Ruby Gillman, Teenage Kraken is a good excuse to get out of the house with the family and take the kids to see something fun. And that’s what this movie is: fun. Even if I was bored and unmoved, the target audience will have a great time.

It's all very relatable. The film allows audiences to see that we are all human beings trying to make sense of the world and live our lives.

As with nearly everything else in The Campaign, a little goes a long way, until it finally just goes on too long, period.

My Policeman weaves a compelling tale of star-crossed love through different perspectives and timelines.

Put this title on your Netflix queue in the first place. Just give your own Mr. Right a break and don't waste your date-night dollars on the big screen.

There are a couple of good performances and a few funny bits, but mostly the film just bounces back and forth until coming to a flat, trite close.

It’s not just that the jokes aren’t funny, or that they’re given to genius comic actors like Eddie Murphy and Julia Louis-Dreyfus to deliver — which has to be some kind of pop-culture crime — the bigger issue is that there's not a single instance of recognizable human behavior in the entire film.

A flawed script prevents Welcome to the Rileys from being the effective meditation on grief and healing it wants to be.

Disney movie about U.S. cavalrymen who are short on horses so they start riding camels. But how many movies feature Slim Pickens, Denver Pyle and Jack Elam? A cornucopia of coots. [18 Aug 2006, p.1]

There are scenes here and there that are worthy, but many that aren't. Lipsky tries to use dialogue to cover up weaknesses in other areas - such as why these people behave the way they do. Some of the movie is inviting, some of it off-putting.

Now You See Me is a movie about magic, but its most astonishing trick is how little mileage it gets out of a stellar cast.

The audience should be given game controllers upon entering the theater. It wouldn't mean the film would make any more sense, but at least you'd feel like you had some say in the matter.

Exactly what it sounds like: a cowboy movie and an alien movie thrown together, a genre mash-up that's more fun than good, but pretty good nonetheless.

You'd expect the sequel to be an improvement based on production values alone, and you would be right, but not by much.

It’s exceptionally well made, daring and experimental, with a powerful performance from Ana de Armas at its center. At its everything, really — she dominates the film, as well she should. But the film is also too long, too self-indulgent, just too much. It is a marathon of misery.

The story is the problem here, devolving into a ridiculous situation that produces far more groans than chills or thrills.

The tone is so uneven, the shifts so jarring, that they overtake the movie’s modest pleasures.

The plot is ingeniously engineered, but the narrative is like a low-res image. It gets the idea across, but without the kind of details that make it memorable.

It’s not fair to either of these actors to want to see Rocky and the Terminator over and over again. But it is fair to want to see them in something better than this.

It’s one part history lesson and one part ode to the rapidly fading quality of refinement. But mostly, it’s a chance to indulge in juicy celebrity stories, catnip for those who love that kind of thing.

Go for Caan and Farmiga, and stay to be surprised by Reeves.

Unfortunately Jean-Marc Vallée’s film doesn’t measure up to Gyllenhaal’s performance.

This is a stunningly accurate portrayal of our current climate. And it’s not pretty.

What raises it a notch above the typical slick Hollywood romances are its stars, Ludivine Sagnier and Nicolas Bedos.

The director is known for visually quirky choices and offbeat interviews and asides. These techniques can be a mixed bag; sometimes they help lighten up a deadly serious segment, other times they seems silly. But it’s distinctive, and “This Is Us” could have used more of it.