Please leave all logic and reality at the door as you settle in for a violent slice of Netflix original movie entertainment featuring an outstanding cast of first-rate actors clearly having a great time shooting up the joint.

Ferrari never quite achieves the greatness of previous Mann movies such as “Thief” and “Heat,” but it’s a solid and extremely well-filmed slice of one legendary life.

This is a movie that introduces you to a bold and original concept and asks you to just go with it, and if you’re willing to take the leap of faith (in more ways than one), you’ll find this to be a unique and special fable.

The Fury is a stylish entertainment, fast-paced, and acted with great energy.

The director, Peter Cattaneo, takes material that could would be at home in a sex comedy, and gives it gravity because of the desperation of the characters; we glimpse the home life of these men, who have literally been put on the shelf, and we see the wound to their pride.

While no reasonable person over the age of 12 would presumably be able to take it seriously, it nevertheless has a lighthearted joy, a cheerfulness, an insouciance, that recalls the days when movies were content to be fun.

The plot is completely confused, and kids, who are much better at these things than adults, will enjoy its twists and turns. Ustinov is fine as the rum swilling, yo-ho-hoing Blackbeard, and there are several good scenes as he invisibly meddles with the big track meet. Jones and Miss Pleshette are amusing without being insufferably sweet.

This is terrific family entertainment.

This is a good film, but it would not cheer people up much at a high school reunion.

It's a film filled with wicked satire and sex both joyful and pitiful.

The important thing about "The Importance" is that all depends on the style of the actors, and Oliver Parker's film is well cast.

The final few scenes of The Kill Room stretch the satiric premise to the breaking point, but by then we’re content to go along with the ride and enjoy the dark humor and the fine work of the entire cast, led by Jackson and Thurman in twin knockout performances.

The Crazy Horse Saloon in Paris is famous for its "erotic chic" revues, but I found nothing either erotic or chic in this reduction of body parts to geometrical displays.

This is not a perfect movie; it meanders and ambles and makes puzzling detours. But it's smart and unconventional, with a good eye for the perfect This is not a perfect movie; it meanders and ambles and makes puzzling detours. But it's smart and unconventional, with a good eye for the perfect detail.

Dripping in fantasy sequences and popping with vibrantly rendered set pieces, this is a monumental ego trip as well as an admirably candid therapy session, and there’s even some amusing, self-deprecating stuff as well.

Clever in the way it avoids most of the cliches of the vampire movie by using cannibalism, and most of the cliches of the cannibal movie by using vampirism. It serves both dishes with new sauces.

This is Grillo’s film to carry, and he pulls it off with a combination of brute force and light charm.

They talk warmly and with enthusiasm about certain titles, but I have the eerie feeling that they must be at a movie whether they enjoy it or not.

The bottom line is, all these people chase the same money around with the success of doggie tail-biting, and it's a lot of fun, and it's not often in these con films that everybody is conning everybody, and they're all scared to death, and nobody knows which cup the pea is under.

The film's buried message is that there is a reservoir of admiration and affection for America, at least among the educated classes in the Arab world, and they do not equate the current administration with America.

Prelude to a Kiss is the kind of movie that can inspire long conversations about the only subject really worth talking about, the Meaning of It All.

I cannot stress enough how truly stunning the brilliant visuals are in this movie. Laika has again crafted a world that is such an original vision, one that will live on as a new classic in the world of animation.

Sacha Baron Cohen remains a fearless and funny comedic force, and Maria Bakalova is hilarious and endearing as Tutar. We also get a clever twist ending and I’ll say no more than that. Borat is an idiot, but “Borat Subsequent Moviefilm” ends on a pretty smart note.

Here is a strong and simple story surrounded by needless complications, and flawed by a last act that first disappoints us and then ends on a note of forced whimsy.

Speak No Evil eventually goes full-on with the familiar horror movie blood-spattering, but the social satire in that well-executed build-up is the real strength of the film.

Like so many cautionary tales we’ve seen come out of Hollywood since there was a Hollywood, “You Don’t Know Me” is one long reminder to be careful what you wish for—because dreams that come true often arrive with tentacles attached.

So extreme is his mad dog behavior, indeed, that it shades over into humor: Washington seems to enjoy a performance that's over the top and down the other side.

Luckily, there's enough of the domestic comedy to make the movie work despite its crasser instincts. One of the big surprises in the movie is Selleck's wonderful performance as the bachelor architect. After playing action heroes on TV and in the movies, he now reveals himself to be a light comedian in the Cary Grant tradition - a big, handsome guy with tenderness and vulnerability