This is a very silly film, but one that will keep you laughing — or at least loudly chuckling — from start to finish.

A return to form for Stone's dark side, Savages generates ruthless energy and some, but not too much, humor.

Roll Bounce, a nostalgic memory of disco roller-dancing in the late 1970s, has warm starring performances from Bow Wow and Chi McBride, who are funny, lovable and sometimes touching.

You might well be tired of pandemic-inspired movies and series and I’m leaning in that direction myself, but I’m still recommending the blistering and razor-sharp two-hander Together largely on the strength of the searing and unfiltered and stunningly good performances by Sharon Horgan and James McAvoy.

The Lie is dark enough, but it has affection for its characters and doesn't destroy them. It paints them in three fallible human dimensions, and the actors are warm and plausible.

I enjoyed a lot of A Star Is Born. I thought Miss Streisand was distractingly miscast in the role, and yet I forgave her everything when she sang.

The bottom line on a film like this is, Tom Cruise looks cool and holds our attention while doing neat things that we don't quite understand--doing them so quickly and with so much style that we put our questions on hold, and go with the flow.

For all of its huge budget, Independence Day is a timid movie when it comes to imagination. The aliens, when we finally see them, are a serious disappointment.

It fails to make us care, even a little, about the characters and what happens to them. There is nothing at stake.

As we switched relentlessly back and forth between A and B, I found that I wasn't looking forward to either story.

My only complaint is that its plot flatlines compared to the 1979 version, which was trickier, wittier and smarter. Romero was not above finding parallels between zombies and mall shoppers.

This documentary by Elizabeth Chai Vasarhelyi could have used more music for my taste, and fewer talking heads. But it’s absorbing all the same.

Surviving Progress is a bright, entertaining (!), coherent argument in favor of these principles I have simplified so briefly. It's self-evident and tells the truth.

The story is simple and obvious, but it's told with a lot of energy, and the cast is jammed, with character actors doing their things.

A clumsy, off-putting, uninvolving hybrid of domestic tragedy and sci-fi drama with zero payoffs and one of the most infuriating codas of any movie this century.

The Forgiven holds us in its grips until the very last frame.

The movie is not terrifically good, but the premise is intriguing.

Jurassic World is pure, dumb, wall-to-wall fun. When they hand you your 3-D glasses, you can check your brain at the door and pick it up on your way out.

This is an uncommonly involving thriller. I could call it a film noir, except that the sun never sets in the film. That makes a perfect contrast with the only other feature filmed in Barrow, the vampire movie "30 Days of Night" (2007), in which it never rises.

Take out the gangsters, pump up the Shogun role, give Taimak and Vanity a little more screen time, and you'd have a great entertainment instead of simply a great near-miss.

A lot of actors can hold big machineguns and stand convincingly in front of special effects and explosions. Not many can stand in front of a camera and be nine months pregnant, and actually make us care.

The movie moves confidently when it focuses on Collins and his best friend and co-strategist Harry Boland (Aidan Quinn). But it falters with the unnecessary character of Kitty Kiernan (Julia Roberts), who is in love with both men, and they with her.

LaBute has that rarest of attributes, a distinctive voice. You know one of his scenes at once. His dialogue is the dialogue overheard in trendy mid-scale restaurants, with the words peeled back to suggest the venom beneath.

I have problems with Naqoyqatsi as a film, but as a music video it's rather remarkable.

Did I like the film? Yeah, kinda, but not enough to recommend. The first film arrived with freshness and an unexpected zing, but this one seems too content to follow in its footsteps.

The plot is simple-minded and disappointing, and the chase and action scenes are pretty much routine for movies in the sci-fi CGI genre. The robots never seem to have the heft and weight of actual metallic machines, and make boring villains.

It's an entertaining story about ambition, romance and predatory trading practices, but it seems more fascinated than angry.

Occasionally creative but mostly distasteful and thuddingly unfunny, this is the kind of story that asks us to take wild leaps of faith at every turn—and then buy into a redemption story arc that is neither plausible nor earned.