A rousing adventure, a skillful marriage of special effects and computer animation, and it contains sequences of breathtaking beauty. It also gives us, in a character named the Gollum, one of the most engaging and convincing CGI creatures I've seen.

Unlike so many sequels, this fun-filled 3D adventure is sure to entertain younger kids but also charm the adults who will be accompanying them to the multiplexes.

Father Stu breaks no new ground in the biopic game, but it’s a solid and worthy tribute to the real-life Father Stu, who continued to do the Lord’s work until his death in 2014 at the age of 50.

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.

To Be or Not To "Be works as well as a story as any Brooks film since "Young Frankenstein," and darned if there isn't a little sentiment involved as the impresario and his wife, after years of marriage, surprise each other by actually falling in love.

Does it come across as a bit precious at times? Yes. Is it particularly groundbreaking? No. Am I going to ask and answer one more question here and tell you if this is a light and breezy confection with delightful performances? You betcha.

It’s a mix that doesn’t always work, and at times the 1980s period-piece jokes are almost too easy, but the dialogue is snappy, the horror scenes are effectively staged, and the cast is terrific.

Here’s the thing about bad bosses: they rarely realize they are bad bosses. Even if they’re manipulative, inflexible, uncaring, incompetent, out of touch and generally terrible at virtually every facet of the position, they think they’re doing a fantastic job. So it goes with Javier Bardem’s charming, hands-on, seemingly caring Blanco in writer-director Fernando León de Aranoa’s wickedly warped comedy/drama The Good Boss.

The only reason I’m not giving Eileen a higher rating is because there are a couple of cheap and manipulative jump scare moments that only serve to take us out of the story and feel frustrated. Other than those hiccups, this is a first-rate period piece thriller with hauntingly memorable performances.

This premise is well-established because of a disturbingly good performance by Daryl Sabara as Kyle, the disgusting son.

The Truth vs. Alex Jones is a scathing and well-deserved takedown of the abhorrent hatemonger and huckster whose name is in the title, but the bleating talk show host isn’t the only villain in this story.

dot the i is like one of those nests of Chinese boxes within boxes. The outer box is a love story.

This is a smart, observant movie about two very particular people, and its casting is pitch-perfect.

I expected another mindless surfing movie. Blue Crush is anything but.

At times almost too unbearably intense to watch but ultimately rewarding and with an uplifting twist, “Infinite Storm” is based on the amazing, true-life story of one Pam Bales, who in 2010 set out on an excursion to the top of Mount Washington, the highest peak in the Northeastern United States, which is famous for its unpredictable weather and exhilarating but dangerous paths.

Louis Malle's Pretty Baby is a pleasant surprise: After all the controversy and scandal surrounding its production, it turns out to be a good-hearted, good-looking, quietly elegiac movie.

A surprisingly entertaining movie -- one of those good-hearted comedies like "Spy Kids" where reality is put on hold while bright teenagers outsmart the best and worst the adult world has to offer. It's ideal for younger kids, and not painful for their parents.

Not a great movie, but it delivers what it promises to deliver, and knows that a chase scene is supposed to be about something more than special effects.

Director Olson and her team have done an amazing job of weaving together the cell phone footage into a cohesive timeline of a stunning crisis in the nascent days of the pandemic that shook the world.

I mention all of these tiny logical quibbles because I was amused by them. I was also amused by the film. It isn't as good as the original "Under Siege," but it moves quickly, has great stunts and special effects, and is a lot of fun.

Kate Bosworth holds it all together with a sweetness that is beyond calculation.

Sudden Impact is a Dirty Harry movie with only the good parts left in. All the slow stuff, such as character, motivation, atmosphere and plot, has been pared to exactly the minimum necessary to hold together the violence.

Back in the day, Gigi & Nate would have been a prime-time network “Movie of the Week” or an “ABC Afterschool Special,” in that it has a pleasant but not particularly striking look; endearing performances from a familiar cast of esteemed veterans and earnest newcomers, and a storyline designed to provide a few initial chuckles, some light romance, a devastating family setback and finally, a happy ending.

Caan is notably frail in appearance, but he gives a forceful, funny, warm and strong performance in one last tough-guy role. Brosnan is a graceful and generous screen partner. Seeing these two veterans effortlessly nailing their scenes is the best thing about this movie.

This isn’t A-level X-Men, but it’s a visual feast, it doesn’t take itself too seriously, it’s brimming with stellar performances, it has some legitimately moving teamwork segments — and it contains perhaps my favorite scene of any movie this year.

An elegant story about an elegant woman, told in an elegant visual style. It moves too slowly for those with impaired attention spans, but is fascinating in its style and mannerisms.

Funny and moving, and more entertaining than some of the movies you are considering this weekend.

Most important, I cared about the Jennifer Connelly character; she is not a horror heroine, but an actress playing a mother faced with horror. There is a difference, and because of that difference, Dark Water works.