One of Disney’s best and most popular live-action movies, this one is a favorite among those who grew up in the Seventies

As enjoyable as it is, it's hard to escape a sense of Analyze This being the work of competent talents who knew exactly where the good-enough line was and didn't feel particularly inspired to push far beyond it.

Even though Mrs. Hyde loses the trees for the forest, any movie starring Huppert (Elle, The Ceremony) is radiant, and it should be evident that tossing in a special effect or a message will be superfluous.

Benny's Video renders the viewer complicit in the actions unfolding so nightmarishly, forcing us to ask ourselves why we watch.

The true wonder of this low-budget movie, however, is its acquisition of the rights to so much of the previously mentioned music. It's almost exclusively Dylan and the Dead, but damned if you won't be stopping for some Cherry Garcia ice cream on the way home.

The film never lets these characters earn anything, despite everyone ending up moving on in Moving On. You’re advised to do the same, when it materializes as one of your viewing options.

The screenplay by Erin Cardillo, Dana Fox, and Katie Silberman nails the mechanics of a rom-com, even if it takes Wilson’s delivery to drive the lessons home. Scenes are succinct and the movie comes in at 88 minutes even with a tacked-on song-and-dance video at the end (as a nod to the film’s wildly successful karaoke-bar sequence earlier in the film).

It's chilling what Fiennes can do with so very little; he looks like a wounded puppy half the time and sounds like one to boot.

Foster commendably stretches beyond her comfort zone with The Beaver, but in the end the film's high-concept premise is at war with its conventional direction.

This single film beats every other Hollywood action film of the past five years, hands down. It's not even close. Welcome back, Mr. Tsui.

The actresses are terrific together, and it’s nice to see Helen Mirren smiling onscreen for a change. And although Calendar Girls is resolutely pleasant, the movie never really goes much beyond that.

Not only is it interesting to follow the course of Gray's storyline, the movie is also equally interesting to view, even if the storyteller is just sitting in front of a desk most of the time.

There is an enormous amount of effort put into this film which at its end just seems like noise, wind, and dust.

Mighty Aphrodite may take its thematic and structural cues from Greek tragedy, but it's second-rate Borscht Belt all the way.

Unfortunately, almost none of that astonishing true story makes it into The Aeronauts, a mangled retelling that cuts out Coxwell and replaces him with Amelia Wren (Jones), a gestalt character based on several women aerial explorers of the time.

Exuding direct-to-Redbox energy, Fuze has enough plot twists to make it watchable. You’re just not liable to remember much of it afterwards.

What About Bob? is a one-joke movie, but what a funny joke!

When director David Leitch (Atomic Blonde, Deadpool 2) eases up a bit on the self-satisfied action beats  – Hobbs and Shaw spent almost every fight sequence jockeying for literal or metaphorical position  – the film finds exciting ways to lean into Johnson’s larger-than-life physique.

The circus acts and the rehearsals, which are set to Katy Perry's "Fireworks," make the greatest use of the movie's 3-D capacities. Madagascar 3 may not rival the "greatest show on earth" but it's good enough to pack 'em in anyway.

Goodhart’s film is a winner – sweet but not sentimental, tart without turning sour. The studio-produced romantic comedy may be flatlining, but who cares, so long as snappy indies like this one step up to fill the void?

Surjik's skewed Canadian vision keeps WW2 from descending to the level of Thanksgiving leftovers, with frequent touches of out-and-out weirdness and the sure-footed knowledge that this is a comedy, period. It doesn't have to try to be anything more, and that, I think, is why it works so very well.

It's not quite masterful enough to achieve all its goals, but Zucker is undeniably ambitious despite its relatively lowbrow and farcical approach.

Gifted may rely on the extremely old-school lovable-orphan-and-adopted-parent template, but there’s a certain emotionally complex realism to both the performances and the storyline that lifts the film beyond the obvious and the cliched.

Lone Survivor is a somber celebration of courage and endurance that manages to steer clear of jingoism and moral judgments.

Smallfoot also features some excellent physical comedy, some of which calls to mind the sight gags prevalent in the old Looney Tunes cartoons once produced by this studio (Warner Bros.).

The overall tone of this rocket-paced updating is exhilaratingly giddy, making it by far Disney’s best animated film since "Mulan."

House of Gucci isn't aggressively bad, but it is undeniably tedious, threadbare, and unengaging.

Zealously nasty fun which, surprisingly, ends on something of a note of upbeat grace and familial redemption, Middle Men is more entertaining than 99% of 37% of the Internet.