Over all, this is a rousing, albeit sometimes cheesy, action-packed Western bolstered by Denzel Washington’s baddest-of-the-baddasses lead performance, mostly fine supporting work, and yep, some of the most impressively choreographed extended shootout sequences in recent memory.

A visually underwhelming saga that tests (and fails) our patience with a whopping 2-hour-and-37-minute running time — and even with all that storytelling room, engages in some whiplash changes of character in the final act that make little sense and feel forced and contrived, as if the filmmakers suddenly remembered they had to draw a connection between this story and subsequent events the audience already knows about.

Malek and Washington are electric together in this atmospheric, moody thriller that will keep you guessing and on the edge of the proverbial seat (or living room sofa). You won’t be able to shake this one off for a very long time.

It isn't a masterpiece, but it is a good-hearted, sweet comedy, featuring an overland chase that isn't original but sure is energetic.

If you’ve seen “Wonder,” it will add some depth and context to the viewing experience, but with the surehanded direction from Forster, the excellent script by Bomback and the strong performances from the veteran actors as well as the younger faces, “White Bird” flies quite well on its own.

By the end of the film I conceded, yes, there are good performances and the period is well captured, but the movie didn't convince me of the feel and the flavor of its experiences.

But the film is not as amusing as the premise, and there were long stretches when I'd had quite enough of Mrs. Doubtfire.

All of this material, written by Seinfeld and writers associated with his television series, tries hard, but never really takes off.

What's lacking is a feeling for the heat and deafening chaos of actual club shows. The movie hangs back a little, folds its arms and nods its head, rather than rushing the stage or diving into the mosh pit. The tumult is depicted, not captured.

There's a universal story here about immigrant parents and children, and how American culture can swamp family traditions, and make parents and children culturally unrecognizable to one another.

I can’t tell you I bought every last twist and turn in the final act, but thanks to Niccol’s creative direction and the offbeat but effective chemistry between Owen’s emotionally damaged Sal and Seyfried’s is-she-hero-or-villain mystery woman, Anon kept me in its grips throughout.

The Little Drummer Girl lacks the two essential qualities it needs to work: It's not comprehensible, and it's not involving.

The supporting work is stellar, but this is Michael Keaton’s film to carry every step of the way, and he turns in a typically fine and layered performance as a man who might find relief in the loss of his memories, given all the dark acts he’s committed.

All classic and airtight, and handled by Richet with economy and a sturdy clarity of action; he doesn't go overboard with manic action scenes.

While it’s hard to make sense of the narrative developments in The Signal, it must be said that it’s always visually compelling. And that some of the standout sequences (including, yes, the Mind-Blowing Twist Ending) suggest that Eubank could have a terrific future as a director. As a screenwriter, though, maybe not so much.

Sweet and warm-hearted, but there is another film with a similar story that is boundlessly better, and that is "My Dog Skip" (2000).

Watts is such a chameleon of an actress, such a pro at slipping into a vast array of roles without drawing attention to the mechanics of her work, that we almost take for granted how damn good she is — and she delivers beautiful and resonant work as Sam.

Cronyn and Tandy rescue the movie from looking altogether like a retread, and the saucers do their part, too. Designed by Industrial Light & Magic, the visual effects wizards, the saucers swoop and vibrate and blink and purr and even have children, which they assemble out of old toasters and other househood appliances. "Batteries Not Included" is a sweet, cheerful and funny family entertainment.

There are more than enough ingredients here to cook up one rousing and thought-provoking sci-fi thriller. Except this time around, they’re just serving up overcooked leftovers.

It’s hard to make a case for being a timely, provocative thriller when so many characters are regressive caricatures.

It creates original characters - Hudson and, especially, the little dynamo M. J. - and makes them more important than the plot. We care, and that's the key.

The Dream Team is essentially a formula picture filled with missed opportunities. The fact that it has several passages that really work, and that the actors create characters we can care about, only underlines the bankruptcy of its imagination.

Tucci and Eve play well off each other, especially when they are slinging ugly revelations back and forth.

For all its obvious love of movies and of the shared experience of watching movies, Empire of Light is a decidedly downbeat effort that tries to say too much and ultimately winds up saying very little.

Now, Forager is a uncompromising film about two people who don't deserve each other - but maybe nobody deserves either one of them.

It’s hard to imagine anyone seeing this film and not feeling the weight of the heartbreak when a young girl’s life is destroyed by bullying, and outrage that even with all the awareness and all the campaigning, bullying remains an epidemic in schools everywhere.

They are, in fact, likable. That's why their comedy is so sad.

Jet Lag is sort of a grown-up version of "Before Sunrise"...The difference between the two films is sort of depressing.