There is enough of a sense of awe here, and enough scale, that it brightens up the big screen as it stares into the ebony black of space. And if one child is instilled with a sense of cosmic wonder and channels that into a career probing the mysteries and poetry of the night sky, then Elio will have truly reached the stars.

Bandslam belongs to Connell. He has the unruly 'fro and endearing shamblingness of a young Daniel Stern, and he ably brings to life that rarest of cinematic qualities: decency.

It only works because Sweeney and Findlay have such an incredible spark between them.

It's all poppycock, of course, but it's done with such vim and vigor and both narrative and visual flair that you care not a jot. Summer has arrived.

The performance are uniformly wonderful, making Sommersby solidly entertaining though never engrossing.

Gleefully, goofily over-the-top.

Frankie & Johnny is an episodic romantic comedy of opposites attracting; there's a real joy in watching the courtship of these lovers and the consummation of their undeniable attraction for one another.

Not likely to win any hearts or minds this holiday season, La Bûche finally scores points by virtue of its inoffensiveness: Relax, pour a cuppa nog, and watch somebody else muck up the holidays for once.

Failings do not get in the way of The Source providing a basic primer on the genesis and lasting influence of these cultural icons of the 20th century.

As a complete work, Robot Stories is a solid collection.

Set in some sort of post-apocalyptic Parisian deli o' the damned, this lunatic's take on the future of man is so delightfully warped that it's impossible to shake it out of your head and go get a decent night's sleep.

Jennifer Jason Leigh's performance is so incredible that witnessing it is reason enough to take a look at this movie.

It all boils down to one important fact: Reynolds gets these comics.

That is really the reason to see this movie: the lovely performances of Macdonald and Khan.

Despite its overly familiar ring and lack of genuine suspense, there are nice touches that can be found throughout The Infiltrator. Brad Furman (The Lincoln Lawyer), however, hasn’t the stylistic chops to turn this from a routine movie into a memorable thriller.

All told, Pitch Perfect isn't all that good – but it's an awfully good sport.

For no matter how derivative this carefully calculated sentimental journey may be, there’s still an undeniable magic in its voice and its step likely to enchant adults – and hopefully kids – alike. Uncle Walt would be proud.

Often impeded by ham-fisted, inspirational dialogue, The Idol is not likely to earn Assaf more worldwide admirers, but for those who are already in his fan club, this film will be received like a bonus gift.

That’s the problem with this well-meaning but ultimately hollow film romance: You don’t see it; you don’t get it.

Underneath the savage occult aspects of the story remains a constant exploration of what it means to see your loved ones as flawed, rounded humans, and ultimately as mortal.

What makes this documentary work is that the Beavan family is so relatable.

Wingard’s film is its own subset of fractious family crazy.

Don't let the big (but not that big) budget fool you: It's Troma, baby, just how you like it.

One of the dullest films of the sextet thus far.

In a media landscape that only has eyes for the sex lives of nubile young things, Hope Springs' sincere, considered, and unembarrassed exploration of mature sexuality marks a welcome exception.

The film is never less than absorbing to watch. However, in the end, I think Catfish lives up to its namesake's reputation as a bottom-feeder.

Unfortunately, after those first 10 minutes it’s all downhill for I Am Legend, as the film descends into a monster-movie malaise starring a horde of balding CGI monsters that look like refugees from a video game and that will scare absolutely no one, save those who worry that green-screening is ruining the movies.

Serves up a weak brew.