The movie lacks the wit and self-mocking irony of the Indiana Jones movies, and instead seems like a throwback to the simple-minded, clean-cut sensibility of a less complicated time. That doesn’t mean The Rocketeer is not entertaining. But adjustments are necessary to enjoy it.

It exists somewhere between parody and melodrama, between the tragic and the goofy. There are moments when the movie doesn't seem to know where it's going, but for once that's a good thing because the uncertainty almost always ends with some kind of a delightful, weird surprise.

It’s an entertaining enough offbeat crime comedy/drama featuring an amazing cast — led by the grizzled, shuffling, mumbling, wisecracking old dog playing the lead.

I found it to be the equivalent of a free-swinging slugger who is willing to strike out once, twice, even three times — but then hits one clear out of the park. It’s worth the risk-reward ratio.

The movie gets a bit slow, with too much time spent on the human characters, who are dreary and underwritten, compared to the big dreams of the little snail. But the film picks up when the racing snails come back onscreen, thanks to the adorable character design, with expressive use of those googly eyes, and especially to the voice talent.

Here's a technological sound-and-light show that is sensational and brainy, stylish, and fun.

The film had a curious effect on me. I was sometimes confused about events as they happened, but all the pieces are there, and the film creates an emotional whole. It's more effective when it's complete than during the unfolding experience.

The movie was directed by Perkins, in his filmmaking debut. I was surprised by what a good job he does. Any movie named Psycho III is going to be compared to the Hitchcock original, but Perkins isn't an imitator. He has his own agenda.

Even though they look nothing like sisters, they’re believable as sisters. Every once in a while when we take a break from the thuddingly unfunny slapstick stuff, there’s a nice and genuine moment.

Ingenious in its construction.

Surely few actors have faces that project sorrow more completely than Bardem.

The Dictator is funny, in addition to being obscene, disgusting, scatological, vulgar, crude and so on.

Don't ever let this happen again to James Bond. Quantum of Solace is his 22nd film and he will survive it, but for the 23rd it is necessary to go back to the drawing board and redesign from the ground up. Please understand: James Bond is not an action hero!

Roman J. Israel, Esq. has pockets of intrigue, and writer-director Gilroy and Washington have teamed up to create a promising dramatic character. We just never get full delivery on that promise.

The movie unreels his musical biography with an unending series of tastes of songs and performances. You may be surprised by how many you recognize.

There's nothing much wrong with the film; my complaint is that there's nothing much right about it.

Al Pacino sells the heck out of his performance as Danny Collins.

When the material in Uncle Frank wades into soapy, melodramatic waters, the performances are pure and powerful.

Suffice to say Tragedy Girls has great fun with myriad horror movie tropes.

There’s a terrifically entertaining sequence late in the film that plays like an homage to a certain element of the original “Poltergeist,” and a thrilling and nerve-wracking extended final sequence that will put you on the edge of the proverbial seat.

There's an audience for this film. It's not me. I gather younger children will like the breakneck action, the magical ability to fly and the young hero who has tired of only being a name. Their parents and older siblings may find the 89-minute running time quite long enough.

The Midnight Sky is a waking dream that keeps you in its grips.

Lean on Me wants to be taken as a serious, even noble film about an admirable man. And yet it never honestly looks at Clark for what he really is: a grownup example of the very troublemakers he hates so much, still unable even in adulthood to doubt his right to do what he wants, when he wants, as he wants.

Along with charming animated visuals, spot-on voice talent and nicely paced direction, Ferdinand incorporates themes that are very relevant and much-needed for our time.

With Solomon & Gaenor, it is hard to overlook the folly of the characters. Does it count as a tragedy when the characters get more or less what they were asking for?

Pitiless, bleak and despairing -- The Grey Zone refers to a world where everyone is covered with the gray ash of the dead, and it has been like that for so long they do not even notice anymore.

A skillful, efficient film that involves us in the clever and deceptive game being played by Ramius and in the best efforts of those on both sides to figure out what he plans to do with his submarine - and how he plans to do it.

There is one surprise in the movie, a decision having nothing to do with the reactor, that depends entirely on the ability of the characters to act convincingly under enormous pressure; casting stars of roughly equal weight helps it to work.