It's is not a great high school movie like "Election," but it's alive and risky and saucy.

Sir! No Sir! is a documentary about an almost-forgotten fact of the Vietnam era: Anti-war sentiment among U.S. troops grew into a problem for the Pentagon.

One of the most entertainingly ludicrous movies of the year.

The film's heart is in the right place, and Ferris Bueller is slight, whimsical and sweet.

The claustrophobic, isolated Victorian household is a stage on which every nuance, however small, is noticed.

This is an exquisitely filmed and at times deeply melancholy portrait of an artist who had once made the rafters of great opera houses hum with her bel canto technique and had been mobbed by fans and adored by millions, but spent her last week surrounded by the echoes of sadness.

A quietly enthralling film because it contains the murder and the investigation within Carter's smooth calm.

It's a good thing that Geoffrey Rush and Johnny Depp are on hand to jack up the acting department. Their characters, two world-class goofballs, keep us interested even during entirely pointless swordfights.

The only real problem with Black Out, which plays like a cross between “The Hangover” and “Lock, Stock & Two Smoking Barrels”-era Guy Ritchie, is that it’s naggingly over-familiar.

If watching “A Christmas Story” is a part of your annual holiday ritual, you might want to make time to catch the sequel. It’ll make for a warm double helping of Christmas nostalgia.

It is Christmas who steals every scene, and rightfully so. The teen actor is so engaging and endearing (despite his character’s penchant for foul language); his screen presence at such a young age is a wonder.

Return is a movie with some nice, droll opening scenes and the obligatory horrible climax. It doesn't make the mistake of Day Of The Dead - talking too much. It's kind of a sensation-machine, made out of the usual ingredients, and the real question is whether it's done with style. It is.

There is something almost perverse in the way Boorman defines his point of view. He is not concerned in this film about the tragedy of war, or the meaning of war, but only with the specific experience of war for a grade-school boy. Drawing from his autobiographical memories, he has not given the little boy in the movie any more insights than such a little boy should have.

The underlying secret of the four comedians is the way they find humor in daily life, and in their families. In this they're a lot like the Kings of Comedy.

The movie is like the low-rent, road show version of those serious drug movies where everybody is macho and deadly.

With Branagh also providing stylish direction (he’s also not above indulging in jump-scares), screenwriter Michael Green fleshing out and making some major changes to a relatively lesser work by Agatha Christie (titled “Hallowe’en Party”) and a terrific international cast who embrace the inspired, over-the-top lunacy of the story, this is an instantly involving murder mystery with a semi-crazy ending that really works — if we don’t think too hard about it. After all, this is a whodunit wrapped inside a ghost story.

What are we to make of this existence? Doc sees himself a messiah of surfing, clean living and healthy exercise. We might be more inclined to see him as a narcissistic monster, ruling his big family with an iron fist.

Conan the Destroyer is more cheerful than the first Conan movie, and it probably has more sustained action, including a good sequence in the glass palace.

Elba captures the fire and the passion of Mandela the young activist, the resilience of Mandela the political prisoner, and the wisdom and astonishing capacity of forgiveness of Mandela the elder statesman.

Involving and inspiring in the way a good movie about sports almost always is.

But if you do not have some secret place in your soul that still responds even a little to brave cowboys, beautiful princesses and noble horses, then you are way too grown up and need to cut back on cable news.

But don't get the idea City Island is a laff riot. For this story about these people, it finds about the right tone. They're silly and foolish, as are we all, but deserve what happiness they can negotiate.

A movie that is sort of funny some of the time and then occasionally hilarious.

What is most beguiling about Addams Family Values is the way the relationship between Gomez and Morticia has ripened.

Ingenious in its plotting, colorful in its characters, taut in its direction and fortunate in possessing Cate Blanchett.

This is not great moviemaking by any stretch of the imagination, but the spot-on comic timing of the principals here — especially former “Parks and Recreation” star Plaza — captured my funny bone and kept it happily working overtime from start to finish.

She is also, we sense, a woman of great generosity of spirit, and a TV natural: The star she most reminds me of is Lucille Ball.

Directed with just the right amount of stylistic flair (including terrific and helpful graphics) by the talented Muta’Ali, “MoviePass, MovieCrash” is a worthy companion to documentaries such as “Eat the Rich: The GameStop Saga,” “WeWork: Or the Making and Breaking of a $47 Billion Unicorn,“ and the Fyre Festival documentaries.