A clever, funny and very skillful thriller about how a kid builds his own atomic bomb. This isn't really a teenage movie at all, it's a thriller. And it's one of those thrillers that stays as close as possible to the everyday lives of convincing people, so that the movie's frightening aspects are convincing.

Thanks in large part to Elliott (and Offerman and Prepon and Ritter, among others), The Hero survives some bumpy, well-worn clichés.

It’s nothing we haven’t heard before, but it’s still heartbreaking to see small farmers telling their individual stories about the financial and emotional stress they’ve experienced.

The Jessica Lange character is wrong because she isn't selfish enough. In the original, the character was a tough dame who had married the fat spider for money, and was looking out only for herself. Here the character's motivations are marred by soft bourgeois values like affection and career dreams. The original film had a good girl and a bad girl; the Lange character wants to be both.

This is the most gruesome and quease-inducing film you are likely to have seen. You may not even want to read the descriptions in this review. Yet it is also beautiful, angry and sad, with a curious sick poetry, as if the Marquis de Sade had gone in for pastel landscapes.

In Hilary Swank, the film finds the right actress to embody gritty tenacity.

It is a well-crafted movie that works, that entertains, and that pulls us through its pretty standard material with the magnetism of the Ray Sharkey performance.

Tells a story we think we already know, but we're wrong: It has new things to say within an old formula.

This is the kind of adventure picture the studios churned out in the Golden Age -- so traditional it almost feels new.

There is real wit in Glover's performance. And wit, too, in R. Lee Ermey's performance as the boss, which draws heavily on Ermey's real-life experience as a drill sergeant.

The material never really takes hold. It seems awkward. It lacks fire and passion. Watching it was like having a pale memory of a vivid experience.

One fundamental problem with the movie is that John Travolta is seriously miscast as a nuclear terrorist. Say what you will about the guy, he doesn't come across as a heavy.

The climactic scenes when all hell breaks loose are gripping and enthralling, and in the midst of all the blood, sweat and tears, Joel Kinnaman is kicking ass and taking names in true action movie-star fashion.

From the direction to the script to the production elements to the performances, Triple Frontier is a first-class ride.

Beyond the often hilarious dialogue and some slapstick humor, when Somewhere in Queens gets into serious territory, including Leo possibly having a fling with an attractive widow (Jennifer Esposito), the material is handled deftly and with intelligence and care.

I guess it's a tribute to The Man With Two Brains that I found myself laughing a fair amount of the time, despite my feelings about Martin.

This is a two-star movie with moments of sheer exuberance and clever good fun — but just as many scenes that had me tilting my head like a dog trying to figure out what the WHAT is taking place before his very eyes.

Ferrell and his longtime collaborator Adam McKay have a unique gift for creating characters that are human car wrecks yet somehow win our affection.

The movie isn't a comic book that's been assembled out of the spare parts from other crime movies; it's an original, in-depth look at this world, written and directed with concern—apparently after a lot of research and inside information.

I didn't find “The Jerk” very funny...There's a smarmy undercurrent in this movie that seems to imply that Steve Martin may be playing a jerk, but that we all know what a cool guy he is. Well, if you're going to play a jerk, play one as if you think you are one, or you might wind up looking like a jerk.

This well-crafted picture is a lovely work of true art, enhanced by terrific animated sequences illustrating Jerry Lee’s love of drawing cartoons and Frank’s ability to concoct tales of the brothers as heroic figures.

Despite some admittedly impressive production design and the star-power presence of Brad Pitt and Margot Robbie, Babylon comes across as a hard-R cartoon that will have you feeling like you need to take a shower once it finally collapses at the finish line with a faux-sentimental, movie-within-the-movie ending that rings hollow.

Skincare is like a quick trip to the local spa. It’s not going to change your life, but it provides instant gratification and helps you escape for an hour and a half.

With the cinematography by Bruce Francis Cole capturing the mid-2000s Florida setting and the score from Este Haim and Christopher Stracey helping to set the right mood, “Suncoast” eschews heavy-handed messaging about whether one is really and truly alive when one cannot survive on their own in favor of a quietly moving, occasionally surprising and ultimately lovely and thought-provoking work.

Lightweight and made out of familiar elements, but they're handled with humor and invention.

The film is punctuated by violence, a great deal of violence, although most of it is exaggerated comic-book style instead of being truly gruesome. Walking that fine line is a speciality of Hill, who once simulated the sound of a fist on a chin by making tape recordings of Ping-Pong paddles slapping leather sofas.

Oculus is one of the more elegant scary movies in recent memory.

Wise, touching, and often wildly funny,