Look, this isn't a great movie. If you're not a kid, don't go unless there's a kid you want to take. But if you are a kid, and you have ever for a moment wondered what it would be like to play major-league ball at your age, then take it from the old Little Leaguer and see this movie.

The movie, based on the famous comic novel by Stella Gibbons, is dour, eccentric and very funny, and depends on the British gift for treating madness as good common sense.

Hypnotic is an uneven, at times mesmerizing and dazzling mind-bender of a psychological thriller that plays like a drive-in movie version of a Christopher Nolan film.

This is a movie that raises questions that get to the heart of the matter in more ways than one, challenges our perceptions of what it means to be human — and has a wonderfully strange vibe while doing so. It’s unsettling, in the best possible way.

Life in a Day 2020 is an affirmation of life, of the simple joys experienced by citizens of the planet over the course of a single day. We’d never have met any of them without this film, and we’re grateful for the opportunity to get to know them a little bit.

Aniston, as a sweet kindergarten teacher and fiancee, shows again (after "The Good Girl") that she really will have a movie career.

I’m going to tread lightly so as not to spoil too many of the twists and turns, but I will say it’s not often you experience a film that at times plays like a rom-com from the 1990s spliced with something from the John Carpenter playbook.

Following the tradition governing such movies, the story eventually comes to a moral decision at which a bad boy has to decide whether to become a good man -- and that's too bad, because until the movie turns predictable, it is very, very good. The acting, the direction and the sense of place in Bad Boys is so strong that the movie deserves more than an obligatory right scene for its conclusion.

Felicity Jones gives a fierce and moving performance as Nelly.

In the autobiographical documentary McEnroe... we’re reminded of McEnroe’s dominance on the court — as well as the antics that earned him a reputation as a brat who polarized the tennis world.

There's a high gloss and some nice payoffs, but not quite as much humor as usual; Bond seems to be straying from his tongue-in-cheek origins into the realm of conventional techno-thrillers.

Curiously enough, the movie isn't really about what happens. It's about how it feels. This is a story more interested in tone and mood than in big plot points.

It is the first directing effort by Lili Zanuck, co-producer of Driving Miss Daisy, but feels like the work of a more experienced director, especially in the way she gives full measure to the many strong supporting performances in the film.

Even with the occasional stumble and that self-indulgent running time, this is a unique and at times brilliant piece of work.

Richard Curtis is good at handling large casts, establishing all the characters and keeping them alive.

Yet with all the futuristic splendor and the suitably majestic score and the fine performances, “Into Darkness” only occasionally soars, mostly settling for being a solid but unspectacular effort that sets the stage for the next chapter(s).

It’s a well-made, sometimes horrifyingly realistic re-creation of events — but it often feels like a formulaic disaster film.

There’s not a single character in this film that doesn’t come across as authentic.

The point is, adults can attend this movie with a fair degree of pleasure. That's not always the case with movies for kids, as no parent needs to be reminded. There may even be some moms who insist that the kids need to see this movie. You know who you are.

The screenplay by Carolyn Shelby, Christopher Ames and Samantha Shad contains dialogue scenes so well-heard and written it's hard to believe this is a Hollywood movie, with Hollywood's tendency to have characters underline every emotion so the audience won't have to listen so carefully.

Dumb as they (allegedly) are, the characters in Small Time Crooks are smarter, edgier and more original than the dreary crowd in so many new comedies.

A delightful surprise because despite all the backstage drama, this is a movie that tells stories that work -- is charming, is moving, is funny and looks professional.

Sweet and kind of touching, and I liked it. The difference, I think, is that the new one is lower on cynicism and higher on wisdom, and might actually contain some truth about the agonies of high school insecurity.

Part psychological thriller, part moody thought piece, part romance, “All of Us Strangers” feels like a feature-length update of a classic “Twilight Zone” episode, and we mean that as a high compliment.

The Scotsman who often plays majestic characters and the Texan who specializes in playing antiheroes play beautifully off one another in writer-director Rodrigo Garcia’s offbeat gem, which starts like an adaptation of a Sam Shepard play before eventually settling into something a little more conventional, but nonetheless satisfying.

The French Dispatch is filled with a sense of wistful longing, delivered from the perspectives of creative and observant strangers in a wonderfully strange land.

It's a feel-good film, warm and good-hearted, and as it was heading for its happy ending, I was still a little astonished how much I was enjoying it.

The movie is in the naughty-but-nice British tradition in which characters walk on the wild side but never seem to do anything else there.