The film undeniably captures the breathtaking and unique landscape of coastal Western Australia. It's an incredibly beautiful film, but it's a challenge to emotionally connect to it. It feels like the outline of what would have been an epic novel, but in the translation to the screen, it has lost its interiority, and anything profound it might have communicated.

The film’s peculiar, lingering pathos do not depend on any sort of strict genre definition. The effectiveness depends on caring about the people in the bar, waiting for last call.

It’s worth seeing in any case, any format, if only to see a seriously skillful debut feature director breathe new life into a familiar Old Dark House scenario.

All too often, the human aspect gets lost in the spectacle of an action movie. But Rucka and Prince-Bythewood foreground that element of the story to create something with stakes, intrigue and philosophical weight. They make sure this cool concept and cast are given their due, and set up a sequel too. With any luck, we'll see this world again.

It’s consistent, and there’s enough juice in Hanks’ personal, human-scaled interest in ordinary heroism under fire to make the movie underneath the labels work on its own terms.

One of the most deeply and disturbingly nihilistic films ever made, as well as one of the most heart-pounding thrillers. [06 Mar 1992, p.C2]

Director Thomas Kail’s filmed version of the blockbuster musical Hamilton, available Friday on the Disney Plus streaming service, surely is the greatest translation, democratization and preservation of any Broadway show, ever.

Jeong and Schaal are quite funny in the limited time they're given, but one can't help but think the story would have worked so much better as a drama, or some kind of "Man on Fire" actioner, with Coleman's chops and Bautista's brooding presence. Hopefully a director can figure out what best to do with him as a leading man, and soon.

He (Stewart) bogs down his talented cast with a bewildering plot, tired tropes and embarrassing dialogue. This one, well, it's simply resistible.

Beharie is a tremendous actress, and Miss Juneteenth offers her a complex and nuanced role to prove her range. Peoples visually creates a rich tapestry of place, offering a peek into this world and filling it with believable characters, while carefully threading the historical and cultural significance of Juneteenth throughout. Daniel Patterson's cinematography is remarkable: beautiful, and with an easy, authentic groove.

Murphy isn't afraid to play with color and light and text and music, or to let her characters dance like no one is watching, and often. That energy, embodied in the filmmaking and in the performances, is what puts this coming-of-age film into a class all its own.

The whole endeavor is a naked attempt to cash in on the young adult fantasy trend spearheaded by "Harry Potter." There have been many attempts to snatch the Potter crown (and purse) but Artemis Fowl will not be the hot new kiddie fantasy franchise, based on this utterly charmless first entry.

Apatow's greatest strength as a filmmaker is an eye for charismatic performers who are just fun to be around, and The King of Staten Island is a testament to that. In Davidson, Apatow has a uniquely compelling young comedian.

Written by Nick Moore, Ruckus Skye and Lane Skye, the script just doesn't give us enough material to care about the story, which is devoid of subtext and keeps everything on the surface.

Feels incredibly fresh and modern in its singular style and tone.

The whole thing is a wild concept, hinging on the plausibility of every character's motivations, which are all a bit squishy.

It’s probably best to call it after this one. But I remain astonished at the rewatchability of these “Trip to” films.

It is an almost startlingly intimate film, following this strange relationship between these two, as they go through the challenges of life.

An unusual, agreeable heist picture with just enough feeling behind the style to make it stick, Lucky Grandma rests almost wholly on the withering glances of Tsai Chin.

But for the performances, and for just about everything Sallitt is up to, the film nonetheless feels full and true.

As corporate directives go, Scoob! has a lighter spirit (until the obligatory protracted action climax) and swifter throwaway gags than either of the live-action “Scooby-Doo” remakes offered. (Thank God for Matthew Lillard and Linda Cardellini, though. I start each day with that prayer.) The animated “Scoob!” aims younger, and mostly is better for it.

An angry, violent and despairing film, without much of a point other than that existence can be angry and despairing and memory is a prison. As a piece of art, entertainment or cultural ephemera, it is indeed bold, but it is significant not for what it says about Capone, but rather what it says about Trank, and the ongoing saga of his career.

It’s dumb to measure the worth of anything by its ability to make you cry, but by the end of Driveways the feelings of the characters spill over into your own experience of watching a small, very quiet, very powerful 83-minute short story of a movie.

This sincerely felt and utterly effervescent coming-of-age tale expresses a universal truth about being alive: that hopefully, you'll have the chance, and the awareness, to make and remake yourself, again and again, dusting off the old bricks you've got and forming them into something familiar but new.

Anything made well in advance of the pandemic feels like a weird period piece these days, of course, yet Jury’s small, affecting picture fits snugly within the pandemic realities of 2020.

There’s no way to experience Becoming apolitically, not now. You don’t have to consider it first-rate documentary filmmaking of any sort to feel something watching it.

Arkansas doesn't break the mold on cheeky, stylish, low-life movies; rather, it worships it.

Despite its unevenness, it's impossible to look away from The Infiltrators, due to the sheer audacity of the activists and their willingness to risk their safe but shadowy existence in the United States for this cause.