For a time, The Dig is a quiet little gem of a drama with only a few characters, but after Basil uncovers what appears to be an intact, seventh century Anglo-Saxon ship with far-ranging historical and cultural implications, Sutton Hoo gets quite crowded with new characters and a myriad of subplots, most examining the classism and sexism of the era.

The Disaster Artist is a breezy, entertaining and even affectionate movie about the making of “The Room.”

Here's a Brazilian thriller that's so angry and specifically political, it's hard to believe they got away with making it.

The four leads are enormously likable and there’s still enough sharp, raunchy, sexy humor for me to recommend this version.

There’s a good measure of comedic relief doled out between the action sequences, e.g., Neeson coming up with an ingenious plan to placate the passengers when they’re on the verge of a rebellion. This is a movie that knows it’s not to be taken too seriously.

So, yes: “Kate” is “John Wick” meets “Die Hard” meets “Collateral” meets “Kill Bill all the Volumes” and we’ve seen it all before and you’re not going to get much in the way of original plot, but what you WILL get is a grindhouse of a good time with some bleak and wickedly sharp humor, screen-popping visuals and some pretty great fight choreography.

A quirky and entertaining deadpan comedy/drama.

Focusing on Rumsfeld’s 2001-06 stint at the Pentagon, Morris scrutinizes his rhetoric and rationale for attacking Iraq and Afghanistan. Tactics and costs take a back seat to semantics.

This is a documentary about what happens to you when you appear in "Troll 2."

Works because the story is sympathetic to the feelings of the characters, observes them as individuals, is not concerned with the sensational aspects of their household but in the gradual way practical matters work themselves out.

A disquieting film about testing faith.

Not very much really happens in Duck Season, but in its rich details, it remembers how absorbing and endless every single day can seem when you're 14.

Overall this is a solid, intelligent movie about the joys of expanding our horizons — in all directions.

The movie is funny and entertaining in all the usual ways, yes, but I was grateful that it tried for more: that it was actually about something, that it had an original premise, that it used satire and irony and had sly undercurrents.

Deathtrap is a wonderful windup fiction machine with a few modest ambitions: It wants to mislead us at every turn, confound all our expectations, and provide at least one moment when we levitate from our seats and come down screaming.

Catherine Hardwicke’s sharply drawn, slow-simmer domestic drama Prisoner’s Daughter has the cool vibe of an indie film from a generation ago, from the lived-in look of the Vegas sets to the authentic performances of the terrific cast.

Bastards is both visceral and visual.

The success of Crimson Gold depends to an intriguing degree on the performance of its leading actor, a large, phlegmatic man.

Robert Redford has shown that he has a real feeling for the West--he's not a movie tourist--and there is a magnificence in his treatment here that dignifies what is essentially a soap opera.

Howard Stern has been accused of a lot of things, but he has never been accused of being dumb. With Private Parts, his surprisingly sweet new movie, he makes a canny career move: Here is radio's bad boy walking the finest of lines between enough and too much.

In an age of prefabricated special effects and obviously phony spectacle, it's sort of old-fashioned (and a pleasure) to see a movie made of real people and plausible sets.

We’ve yet to get a masterpiece-level film adaptation of the classic novella “The Little Prince,” but if and until that day comes, this will do just nicely, thank you very much.

Bell and Grammer are wonderful playing off one another. Funny when the moment calls for funny, authentic and believable when the moment calls for substantive drama.

The high-tech stuff is flawlessly done, but the intriguing elements of the movie involve the performances.

Maggie Gyllenhaal’s The Lost Daughter is a chilling and unnerving psychological horror film brimming with dicey characters who are capable of deeply disturbing behavior. We keep holding our breath because it feels like something awful is about to happen — and our instincts might not be wrong.

Movies like this are more or less impervious to the depredations of movie critics. Either you laugh, or you don't. I laughed.

It's worth seeing for the acting, and it's got some good laughs in it, and New York is colorfully observed, but don't tell me this movie is about human nature, because it's not; it's about acting.

The Miracle Club contains few surprises, but that’s kind of the point of these kinds of movies, yes? We’re here for the comfort-viewing and the location scenery and the hand-me-a-tissue moments and the sublime performances.