Murder on the Orient Express is a splendidly entertaining movie of the sort that isn’t made anymore: It’s a classical whodunit, with all the clues planted and all of them visible, and it’s peopled with a large and expensive collection of stars.

The investigation itself must remain undescribed here. But its ending is a neat and ironic exercise in poetic justice.

Not as awe-inspiring as the first film or as elaborate as the second, but in its own B-movie way, it's a nice little thrill machine.

The movie resembles Mad magazine's "Spy vs. Spy" series, elevated to labyrinthine levels of complexity.

Under the cover of slapstick, cheap laughs, raunchy humor, gross-out physical comedy and sheer exploitation, Get Him to the Greek also is fundamentally a sound movie.

Although I liked the first "MiB" movie, I wasn't particularly looking forward to this belated sequel. But I had fun. It has an ingenious plot, bizarre monsters, audacious cliff-hanging, and you know what? A closing scene that adds a new and sort of touching dimension to the characters of J and K.

If Wayne and Garth ever grow confident of their success, the series will be over. Everything depends on the delighted disbelief with which they greet every new victory.

Holland does fine work as the novice, but it’s Bernthal who owns the screen as The Mute, who will protect the relic and his brothers at all costs. It’s fiercely effective work.

There comes a time in some movies when sheer spectacle overwhelms any consideration of plot, and Clint Eastwood's The Eiger Sanction is a movie like that. It has a plot so unlikely and confused that we can't believe it for much more than 15 seconds at a time, but its action sequences are so absorbing and its mountaintop photography so compelling that we don't care.

Most audiences will find it baffling and unsatisfactory. Those who are open to its flywheel peculiarities may find it bold, funny, peculiar and delightful.

The mother-daughter dynamic in Four Good Days is powerful and lasting and devastating and maybe the thing that will help Molly save her life.

Smart, sly and subtle, Georgetown is in the tradition of Reversal of Fortune, The Informant! and Catch Me If You Can — fictionalized and stylized entertainment based on true crime events.

A lightweight rom-com elevated by its performances. It is a reminder that the funniest people are often not comedians, but actors playing straight in funny roles.

Wicked and cheeky.

About 40 percent of Neighbors falls flat. About 60 percent made me laugh hard, even when I knew I should have known better.

The performances are spot on, and I especially like the spunky Gyllenhaal, who with this film and the underrated "Secretary" (2002), has built up a nice sideline in sexual exploration.

Stylish, intriguing, and very violent.

For all the beautiful and lovely music Whitney Houston gave us, for all those soaring notes she hit, the documentary Whitney. Can I Be Me is a nearly joyless and melancholy piece of work. Because we know how it ends.

Breakdown is a fine thriller, and its ending is unworthy of it.

This is a movie of substance and thrilling historical sweep, and its three hours allow Szabo to show the family's destiny forming and shifting under pressure.

The film is a consistently funny gem with moments of inspired lunacy.

Surprisingly sweet and gentle comedy.

Writer-director John Swab is clearly influenced by films such as the The Big Short and his grasp sometimes exceeds his reach as he indulges in a few too many stylized touches and meandering subplots, but Body Brokers keeps us in its grips throughout.

A series of well-drawn sketches and powerful scenes, in search of an organizing principle.

It’s a Hollywood story of a spectacular rise to the top that was quite apparently a real-life horror story all along.

One of the qualities I like about this film is that the writer-directors, Rob Epstein and Jeffrey Friedman, are aware of the time when Beat scene was new.

To the degree that I was able to put aside my questions, forget logic, disregard continuity problems and immerse myself in the moment, The Matrix Revolutions is a terrific action achievement. Andy and Larry Wachowski have concluded their trilogy with all barrels blazing.

I liked the smaller-scale scenes the best, the ones where Hines and Crystal were doing their stuff.