Over the course of its bloated run time, this strange hodgepodge of a film clumsily shifts gears between a family/legal drama, a fish-out-of-water tale, a midlife romantic escapade, and something of a subdued vigilante thriller.

Truth itself is little more than a word in The Prestige, a film that both celebrates the wonder of being fooled and the foolishness of wanting just that.

Best just to say Macbeth is coming down hard and leave it at that.

A reasonably enjoyable, if utterly predictable, romp.

Pacino delivers his best work in a long time, but it’s contained within an utterly predictable redemption movie that only comes alive when Pacino plays one-on-one scenes with the other members of the cast.

Invincible is like a thick, sweaty slab of NFL comfort food.

Ultimately, the story becomes one of personalities, which seems inevitable but narrows the accomplishments and ambitions of its focus.

Provides lots of good information for newcomers to the cause.

Parents might appreciate a lighter hand with the barnyard whimsy and food fights, but overall the movie doesn't condescend about heavy matters (grief, healing, and blended families) and is pleasantly diverting.

While it can’t hold a candle to Wilder’s film, the updated Sabrina has its moments.

There are even times when both the subject and aesthetics of A Private War seem to align accordingly; unfortunately, the film is incapable of sustaining this poignancy for any extended period of time.

It feels like a veiled apology for Babs Johnson and other exercises in bad taste. In my book, the filthiest person alive will always win the prize.

The sensation that dogs Hope Gap is that they forgot to roll camera on the most dramatic parts. What’s left over isn’t bad, only underwhelming.

Ultimately never slices things as sharply as it attempts, but it’s definitely a cut above.

When the action shifts to Bill’s childhood home – an islet along the Thames, downriver from the legendary Shepperton Studios – some of the magic of that place rubs off on Boorman’s picture: It becomes lighter on its feet, moves with the breath of life and not just the strength of memory.

A sweet German movie by a first-time filmmaker, who, I would bet, is more than a little familiar with the early work of Jim Jarmusch or just about any Aki KaurismŠki film.

Here, watching Theron is just about the whole show, and to the film’s credit, this is usually a mesmerizing rather than crass experience.

The Peanut Butter Falcon may lack depth and subtlety, but you can always feel the beat of its heart.

Good Time demonstrates an admirable daring in its technique and willingness to go against the grain, but its payoff isn’t equal to its challenges.

If you (or your kids) loved Toy Story, you'll like Toy Story 2 as well. Just don't expect any big surprises.

Bra Boys isn't really a documentary at all but a piece of PR propaganda designed to counteract years of bad press. Beautiful, soaring, exhilarating propaganda, no doubt, but propaganda nonetheless.

The stripped-down title gets at what we're really here for: the cars. Are they fast? Check. Are they furious? Yep.

13 Minutes, which was released in Germany two years ago, is an earnest examination of personal conscience and the frequent necessity of the individual to monkey wrench the state. Or at least to try.

An end-of-summer burst of adrenaline, The Hitman’s Bodyguard promises nothing more and nothing less.

This is Jackman’s show entirely, and he’s as forceful and charismatic as ever as the walking, talking hurt that is Wolverine. If only he had something more interesting to do here.

This sincere but ultimately empty indie film plays like Australia’s answer to ensemble pieces like "Magnolia" and "Short Cuts."

Written by Mark Duplass and first-time feature director and veteran producer Mel Eslyn (Tony Hawk: Until the Wheels Fall Off, The One I Love), there's no doubt that Biosphere is filled with ideas, and they're given easy life by Brown and Duplass.

Similar to Wan’s The Conjuring universe, Insidious has long overstayed its welcome, reaching the point where its spark has quelled and there’s nothing interesting buried within these characters anymore. We have reached the end of the Further.