Loosely inspired by the Lee Majors-starring TV show from the 1980s and given a rocket-booster jolt of stardom from the pairing of Gosling and Emily Blunt, “The Fall Guy” is pure popcorn entertainment — an absolutely ludicrous yet consistently entertaining, old-fashioned action/romance combo platter that plays like a feature-length pitch to the Academy to add a best stunts category (as it should).

This is not an in-your-face thriller but rather a measured film ripe with suspense that never lets up.

It's better to know going in that you're not expected to be able to fit everything together, that you may lose track of some members of the large cast, that it's like attending a family reunion when it's not your family and your hosts are too drunk to introduce you around.

It's an effective film, livened with animated rats, never boring.

The actors all find the correct notes. It is a French film, and so they are allowed to be adult and intelligent.

This is one of those movies you talk about a lot afterward because the motives of all the characters are so complicated that you're not absolutely sure just who came out ahead.

Look at the cast and credits to form an idea of the directors and actors at work here. By its nature, New York, I Love You can't add up. It remains the sum of its parts. If one isn't working for you, wait a few minutes, here comes another one. New Yorkers, I love you.

Given the revolutionary nature of Marley’s music and the often-chaotic state of his life, it’s reasonable that some might find this to be a disappointingly formulaic handling of the material, with only a few stylistic flourishes that take place mostly in the flashback sequences. Still, this is strong work, showcasing the indelible legacy of an artist who was gone far too soon.

A movie like Keyhole plays like a fever dream using the elements of film noir but restlessly rearranging them in an attempt to force sense out of them. You have the elements lined up against the wall, and in some mercurial way, they slip free and attack you from behind.

The Tender Bar is unabashedly sentimental — it’s one of those movies about writers told from the point of view of the writer that romanticizes everything about writing — but Clooney’s sure-handed direction and pitch-perfect attention to the 1970s and 1980s period-piece material, combined with the warm and relatable performances, make for classic comfort-movie formula.

What I liked was a horror movie that was scaring me with ideas and gore, instead of simply with gore.

A genuine guilty pleasure. [17 Jan 1994, p.29]

The movie is an ideal showcase for the talents of Coogan.

It’s a movie that fleshes out the people who entertain us, not with bemusement like a Christopher Guest mockumentary, but with compassion.

Shia LaBeouf turns in one of the most sincere and effective performances of his career.

I am not a golf fan but found The Greatest Game Ever Played absorbing all the same, partly because of the human element, partly because Paxton and his technicians have used every trick in the book to dramatize the flight and destination of the golf balls.

Not a great, breakout comedy, but more the kind of movie that might eventually become a regular on the midnight cult circuit.

For all its absurdity Cronos generates a real moral conviction.

Gandolfini comes in from left field and provides a character with dimensions and surprises, bringing out the best in Roberts. Their dialogue scenes are the best reason to see the movie.

Streep wisely goes for oblique humor rather than straight-ahead villainy, making the character different and yet just as loathsome.

Bernie Mac gives a funny and kind of touching performance as a man who attains greatness once and then has to do it again.

The movie depends mostly on wild exaggerations of 007, and here it does something right: It shows stunts and special effects that look like they might have been staged in 1967.

I guess I sort of liked the film. although I wonder why it couldn't have spent more time on natural history and the sense of discovery.

Writer-director Keating knows how to deliver the goods in lean fashion, with “Invader” clocking in at just 70 minutes and ending on a fantastically creepy note of utter dread.

The things that make Overboard special, however, are the genuine charm, wit and warm energy generated by the entire cast and director Garry Marshall. Hawn and Russell work well together, never overplaying scenes that easily could have self-destructed.

The film begins slowly with a murky plot and too many new characters, but builds to a sensational climax.

The best elements of Water involve the young girl and the experiences seen through her eyes. I would have been content if the entire film had been her story.

As a director, Logan knows how to put us through the horror genre paces, from jump scares and mysterious sounds in the woods, to the obligatory gruesome kills. Time and again, though, we’re reminded that real monster in “They/Them” is bigotry and intolerance.