A disposable entertainment, redeemed by silliness, exaggeration, and Chan's skill and charm. I would not want to see it twice, but I liked seeing it once.

[Altman] has made a melodrama, almost a soap opera, in which the characters achieve a kind of nobility.

Writer-director Christopher Andrews’ brutal and unforgiving and sometimes almost cruelly funny “Bring Them Down” is like a biblical tale brought to life. There are times when this rural west Ireland fable makes “The Banshees of Inisherin” feel like a soft-pedaled buddy comedy. It’s that bleak, and nearly as searing and memorable.

F For Fake is minor Welles, the master idly tuning his instrument while the concert seems never to start again. But it's engaging and fun, and it's astonishing how easily Welles spins a movie out of next to nothing.

It might be easy to make a farce about screwball happenings in the desert, but it's a lot harder to create a funny interaction between nature and human nature. This movie's a nice little treasure.

It’s pulp, but it has real actors doing real acting in a gritty story — which is a lot more than can be said for some of the much more high-profile buddy cop movies of the last couple of years.

For all its cleverness and pop-culture savvy and meta references, M3GAN also indulges in tropes we’ve seen in a hundred slasher movies, but the dark laughs keep coming, and of course we get an ending that leaves the door open for a potential franchise. She’s the living doll of your nightmares, and you can’t just power her down, kiddo.

The movie finally becomes just an exercise, then: a brilliant one at times, and with a wealth of sharp-edged performances, but without people for its things to happen to.

The movie is entertaining, perhaps more so if you’re at one of those establishments where they allow you to bring a generous pour of wine into the theater.

It is a minor movie, but a big-time minor movie...If there is such a thing as a must-see three-star movie, here it is.

Shows a man whose beliefs, both political and religious, seem to reinvigorate him; he even carries his own luggage in airports and hotels.

For some men, the movie will reveal a truth that most women already know. It is that verbal sexual harassment, whether crudely in a saloon back room or subtly in an everyday situation, is a form of violence - one that leaves no visible marks but can make its victims feel unable to move freely and casually in society. It is a form of imprisonment.

There is no cynicism in Radio, no angle or edge. It's about what it's about, with an open, warm and fond nature. Every once in a while human nature expresses itself in a way we can feel good about, and this is one of those times.

It occurred to me, watching the film, that what Leslie Nielsen and Priscilla Presley do here is not easy, and is done well. It would be fatal to the movie if either one ever betrayed the slightest suggestion that they know funny things are going on. They play everything on a level of seriousness that would be appropriate, say, for a 1960s TV cop drama. Their timing is impeccable. And they provide the sure, strong center around which the madness revolves.

Vixen is the best film to date in that uniquely American genre, the skin-flick.

There are a few movies where you can palpably sense the presence of the director behind the camera, and I'm Going Home is one of them.

World on a Wire is slowed down compared to most Fassbinder. He usually evokes overwrought passions, sudden angers and jealousies, emotional explosions, people hiding turmoil beneath a surface of pose. Here there's less of that emotional energy. But if you know Fassbinder, you might want to see this as an exercise of his mind, a demonstration of how one of his stories might be transformed by the detachment of science fiction.

With much of the dialogue based on the actual conversations between killer and profiler, and Wood and Kirby turning in stellar work, No Man of God feels memorably, sometimes chillingly, real.

Thanks to a smart screenplay, direction that perfectly captures the tone of modern rom-coms and two of the most engaging comedic leads working in movies and TV today, “They Came Together” is more entertaining and (in its own insane way) more endearing than two-thirds of the legitimate romantic comedies I’ve seen over the last two decades.

Aric Avelino shows an almost tender restraint in his story-telling, not pounding us with a message but simply looking steadily at how guns have made these lives difficult.

One of the joys of Waking Ned Devine is in the richness of the local eccentric population.

The film is short at 82 minutes, but surprisingly moving, and has a couple of really thrilling sequences.

A horrifying thriller, smart and tightly told, and merciless.

A cheerfully twisted horror/comedy/sci-fi mash-up with a surprisingly sweet heart lurking beneath all the bloody-rinse-and-repeat hijinks, which aren’t all that bloody anyway.

House Party is silly and high-spirited and not particularly significant, and that is just as it should be.

Moore delivers a performance that should win awards. We believe every inch of the performance, every movement of Moore’s eyes when she gets the news of her condition, every scene in which she experiences another level of deterioration. It’s beautiful work.

In a miraculous gift to the audience, 20th Century-Fox does <I>not</I> reveal all of the best gags in its trailer.

It’s hard to imagine anyone seeing this film and not feeling the weight of the heartbreak when a young girl’s life is destroyed by bullying, and outrage that even with all the awareness and all the campaigning, bullying remains an epidemic in schools everywhere.