The movie plays like the kind of line a rich older guy would lay on a teenage model,suppressing his own intelligence and irony in order to spread out before her the wonderful world he would like to give her as a gift.

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.

If Fugitive Pieces has a message, it is that life can heal us, if we allow it.

A smart and good movie that could have been a great one if it had a little more daring.

Thanks to the razor-sharp screenplay by James Vanderbilt and Guy Busick and the stylish and Wes Craven-influenced direction by Matt Bettinelli-Olpin and Tyler Gillett and the ease with which Campbell, Cox and Arquette return to their roles, the new “Scream” stabs and jabs at our memories of the original and creates some bloody fresh twists of its own.

Fiennes and Richardson make this film work with the quiet strangeness of their performances; if they insist on their eccentricities, it's because they've paid them off and own them outright.

This is a high-concept and yes, meta, film that springs from a clever premise and delivers wholesome, energetic, positive-messaging entertainment — even if there are some plot developments straight out of “Interstellar” meets “Back to the Future” that will sail above the heads of the little ones.

Yes, it’s a raunchy, edgy, hard-R comedy about a trio of 12-year-old boys who drop the f-bomb every other sentence and get involved in all sorts of predicaments featuring sex toys and beer and molly — but even the most hardcore jokes have a good-natured and even sweet larger context.

A good film in many ways, but its best achievement is the casting of Jamal Woolard, a rapper named Gravy, in the title role.

Motherless Brooklyn isn’t in the same league as obvious influences such as “The Maltese Falcon” and “Chinatown,” but it’s an effective mood piece and a worthy entry in the genre.

Fraser becomes Charlie and infuses him with intelligence, pathos, humor and heart. It is one of the best performances of the year in one of the best movies of the year.

Director Mike Newell and screenwriter David Nicholls focus on the major plot points of the well-known story. Their attempts mostly work but at times the film, despite its two-hour-plus length, feels rushed and truncated.

A well-paced, nicely directed, post-apocalyptic love story with a terrific sense of humor and the, um, guts to be unabashedly romantic and unapologetically optimistic.

We're swept up in the story's need to find a happy ending.

The most valuable task of the film is to re-create the historic legal struggles that led to Brown, and to remember heroes who have been almost forgotten by history.

Hardly the sporting-movie equivalent of a Hail Mary touchdown pass or a homer in the bottom of the ninth, yet McFarland, USA still has plenty of moments where you find yourself rooting hard for these kids, even though you know you’re watching a re-creation of events from the mid-1980s

Told in flashback, with David revisiting the past as he rides into his future on an artifically lit train, The Neon Bible glows darkly on the outside, but its pilot light is barely flickering. [05 Apr 1996, p.33]

Bride Flight takes this melodrama and adds details of period, of behavior, of personality, to somewhat redeem its rather inevitable conclusion.

It's an old-fashioned romantic triangle, told with schmaltzy music on the sound track and a heroine with a smoky singing voice, and then the Nazis turn up and it gets very complicated and heartbreaking.

Even when the story comes close to flying off the rails, Matt Damon holds steady and commands the screen.

The screenplay reads like a collaboration between Jekyll and Hyde.

The Star Chamber works brilliantly until it locks into a plot. Then it stops dancing and starts marching.

With an eclectic soundtrack that features...well-timed editing and crisp cinematography — and of course that terrific cast led by the great Del Toro — A Perfect Day is a rough-edged gem.

The problem with a story like this is that it's almost too perfect. It tends to break out of the boundaries of the typical sports movie, and undermine those easy cliches that are so reassuring to sports fans.

The movie is so sincere and confused in its values that it mirrors the goofy loyalties and violent pathology of its characters.

In the earlier films, we really identified with the small cadre of surviving humans. They were seen as positive characters, and we cared about them. This time, the humans are mostly unpleasant, violent, insane or so noble that we can predict with utter certainty that they will survive.

One of the most complex and visually interesting science fiction movies in a long time.

To be sure, we get a classic comic book movie storyline about a megalomaniacal madman intent on taking over the world, but there’s often a relatively light tone to the proceedings. This is a throwback piece of pure pop entertainment.