The animation is workmanlike in its execution, delivering more seamlessly perfect digital commodity level output.

The Meg is simply toothless.

If there was one reason to see 40 Years in the Making: The Magic Music Movie is for its music. Constantly playing in the background, you’ll find an appreciation for how good this band was, how a band this good could never find success, and how the group’s dynamic tore it down.

Over the course of 93 minutes, Madeline’s Madeline simultaneously feels like nothing happens and everything happens. It’s a strange, sometimes frustrating dichotomy that ultimately gives the film its bizarre edge.

The only excuse you have not to see Crazy Rich Asians is because you hate love.

Summer ’84 requires patience. If you find yourself feeling like you’re bored by familiarity, just wait. You won’t be disappointed.

Despite its overused plotline, the film works. It exudes charm. It makes you laugh at the silliest things, and it tries hard to make you cry.

The women both in front of and behind the camera work wonders in subverting genre expectations, but not in the hokey, pandering way that female-led blockbusters so often settle for.

You can expect the same defecation and drug humor that crud up comedies of this ilk. Of course, its vacuity is intentional, and maybe we could always use more movies of the women-behaving-badly variety. But there’s also a real danger in perpetuating this type of teenage girl; it propagates the idea that, for women, defiance is power, radicalism is freedom, and being really hot is often all you need to survive.

Most appealing is the film’s mixture of California post-War history, cults and a tinge of science fiction — an intriguing combination of elements that make it a winner.

There’s no wasted motion or extraneous dialog. The film is exactly what it should be, lean and precise. This is a masterful rendering in shades of grey of an exciting new take on horror.

Amir Agha’ee shines as the film’s lead. His portrayal of grief and guilt is heartfelt and his emotional performance is perfect.

The film-craft is high quality, with the passion and care taken evident. Schwentke brings the brutal winter during wartime to realistic life. If you have historical interest in deep details of the war, or are fascinated by psychopathic war criminals, this might be a film for you.

What elevates Path of Blood above a mere rote retelling of a far-flung conflict which was has since subsided, is how deftly the filmmaker knits in the footage filmed by the Al-Queda members themselves with other source material. By doing so, the filmmaker both humanizes these young men — some of them boys really — who seem like lost souls in search of some ill-defined adventure while at the same time magnifying their pitiless violence and zealotry, not an easy feat.

Performances all around are strong, with Piper Laurie’s Rose taking the lead and directing us through the story’s narrative.

It’s a fascinating study of contradictions in values, made by and featuring women who want to transcend those contradictions.

Structurally, Science Fair is sound. Its a cross-section of human-interest stories is inspiring. The subjects are engaging and worth rooting for. It looks in depth at the processes of competing in a science fair. And the revelation of winners is exciting and nail-biting.

If you’re not a fan of anime, give it try. Be open and patient.

Mission Impossible: Fallout is a worthy addition to the franchise and a fast pace thrill-ride. McQuarrie manages to keep the story, stunts, and structure fresh.

Bobbing and weaving between the metaphysical and physical, the past and the present, the film is a challenging narrative that rewards the patient viewer with insight into the creative, improvisational process of its visionary protagonist who is regarded as one of the fathers of form.

This film is pure delight.

Ant-Man and the Wasp is a hilariously, fun action-flick that takes the edge off the tragic ending of Avengers: Infinity War.

The Lighthouse doesn’t shed anything new on the pressure cooker, psychological drama, but it is a pleasure to see Crow’s talents continuing to evolve from Demon Bridge to now.

As far as “summer movies” go, this one is a ride that’s worth taking, and will not leave you disappointed! It’s fun, and it’ll make you think, so what more can you really ask for?

The movie blends true-crime realism with the sensationalistic macho-opera of a gangster film, complete with unspoken blood oaths and damnation arcs that play on a loop.

The film itself acts as a diary-scrapbook of sorts, an abbreviated anthology of Beaton’s greatest artistic hits and the romantic vision that conceived them.

It’s a compelling ride. But the film also manages to accumulate a layered look at the nature of brotherhood, parenting, adoption, and above all the power we do or do not have over the mental and emotional tendencies woven into our DNA.

The film is beautifully executed with grace and lavish cinematography.

Beach House has all the makings of great low-budget horror: limited cast, isolation and a somewhat plausible variable. Sadly, these elements get lost in messy camerawork and a mundane screenplay.

Jurassic World: Fallen Kingdom is exactly what you think it’ll be. Whether that’s a good thing or a bad thing is up to you.

The absurdity and the noir banter combine into a Lynchian high weirdness mix of the familiar plus the strange. Goofy fun for a rainy afternoon though you may have to work to follow along. Great score by Ryan Bayne, the music is a treat.

Izzy Gets The F*ck Across Town is as delightfully offbeat as the title suggests, with an engaging and heartfelt story. Smartly written with stellar acting and deft direction, this hilarious movie demands to be seen as soon as possible.

The Zellner Brothers wanted to create something that pokes fun at the genre and mixes things up in a creative and refreshing way. Unfortunately, the result is mildly funny and disappointingly predictable film.

A mess on every narrative and technical level.

Nossa Chape has an urgency and poignancy that several narrative dramas only wish they could achieve.

Mustang Island was written by Elrod and Nathan Smith, who both must know the unpleasant and often comical pains of trying to move on, and the “why me?” shit luck that comes with trying to get over an ex. They create an organic and delightful atmosphere for us while we spend time with the three stooges.

It is constantly entertaining, inspirational, full of funny stories, and it at the very least provides a look, if only somewhat superficial one, into the brilliant, lightning-fast mind and kind heart of the great Robin Williams.

This is a small-scale, small-budget movie, but it’s got swagger.

At the least it will cause you to sit in a chair and laugh uncontrollably while twitching all over and moving your shoulders up and down in a rather creepy manner.

The timing and character engagement of the entire Don’t Tell Larry cast make the film a blast of fresh-air comedy, much like the satirical Office Space and 9 to 5 office comedies of the past.

Romantic comedies have become something of a tired staple in indie filmmaking, these days. Yet, odd as it may seem, it's the unlikely interracial geriatric chops on display in The Annihilation of Fish that breathe new life into the genre.

The story twists and struggles keep engaging through, whether you know the outcome or not.

Dave Stevens: Drawn to Perfection does an excellent job of examining all aspects of his life in order to get a full picture. Fans of his work, as well as the uninitiated, should find Stevens’ eccentric ways fascinating.

Air Doll is beautifully shot and performed.

Whether one disagrees or agrees with Seyran Ateş: Sex, Revolution and Islam, the courage on display is undeniable.

Although not a great film by any stretch, it is a fascinating slice of a fractious period in American history.

Writer/director Maren Ade has a laid-back, almost lackadaisical style that feels breezy, lived-in, and rich.

Emily Blunt’s Victoria and Rupert Friend’s Albert come across like museum mannequins – utterly devoid of any genuine passion.

At times, hard to stomach. Full of relatively good people doing horrible things to each other, the film never lets up, leaving me with a pessimistic and hopeless view of humanity.

There will definitely be a need to see it again after the first time, for the atmosphere, for Hoyle, for the theories, for the case, for everything offered and happily accepted.

It is always unclear what the film is really about.

It’s a historical slice of life that not even most Canadians get to see, never mind the rest of the world, yet the tale is told more with emotion than words, and the language barrier melts away like the snow in spring.

It is compellingly enervating and a marvel in the filmmaking process.

Perhaps Planet 51 should have added a dash of Pedro Almodovar, one of Spain's preeminent directors.

It’s intellectually and socially detrimental to both literature and cinema, simultaneously.

This may be Bullock's best performance. Ever.

Nicolas Cage is a joy to watch, and Werner Herzog is a brilliant storyteller.

Reflecting on Sokurov’s other recent work – like “Russian Arc” for example – The Sun is a giant step down. It’s an outrageously long-winded drama that’s awfully directed with the skill of a high school play.

If characters with more than one dimension, a plausible story and some sort of viewpoint are moviegoing musts, you may leave 2012 feeling a tad shortchanged.

The animals are often caught in a stare as if they, too, are looking for the tale that Anderson forgot.

An even bigger issue: things start sinking by the opening minutes.

The revelation of the film's mystery just barely makes sense. Yet, we dismiss it as an extended MacGuffin, and thus can delight in the film's devious turns.

Shot in the manner of a grueling horror picture, with jittery edits to half-remembered traumas and glistening close-ups on the faces of monsters.

The Fourth Kind has nowhere to go and sticks to its real-life/reel-life device. It feels like mud by the second act.

It is frustrating to see this much raw talent on the screen, not to mention behind the camera, and to have had these people produce something that hints at so many complex things, but ultimately fails to deliver on them. It’s just a comedy, then. So be it, Jedi.

It’s a great story. I’ve read books on the subject and have found it fascinating. But even reading Mandela and Desmond Tutu will not prepare you for the barrage of information Endgame throws at you.

Halbrook absolutely nails the lead role of Mr. Abner Meecham, the headstrong farmer whose lips can’t form the words “give up.”

Bottom line: the spectacle he was preparing may well have provided Jackson with the appropriate note on which to close his long, controversial career. This, however, I think even die hard fans will concur, isn't it.

When this actor (Swank) steps into the right role, she wears and inspires it like Denzel Washington.

Conveys a much louder political message and the implementation of violence reflects as much.

If only von Trier could work beyond the poster art concept. Antichrist stubbornly fails as a gothic nightmare and meanders as a misanthropic two-character drama.

The astonishingly gonzoid fight scenes from Ong Bak 2 might be the best ever filmed.

His film captures the wonderment of dreaming - and the reality of waking.

Technical elements are among the best this year. Photography, editing, music, production design, and costumes all add seamless period flavor to the puritanical stew that was London almost a half-century ago.

Elevates a significant moment in the history of this massively passionate spectator sport.

In addition to the socio-economic impact, Good Hair also explores how hair care affects the African-American community in confidence (both personal and race-related), romantic relationships and every day life.

Thankfully there's nothing remotely serious about Zombieland. It's just a heck of carnival attraction (Shoot the ducks/Shoot the zombies) on a roller coaster filled with laughs.

Whip It doesn’t just refer to whipping around the track or whipping ass. It’s about a girl who must whip herself into shape and grow up.

Once again, the Coens' tale of the damned is damn funny.

The film is filled with extraordinary characters and equally extraordinary circumstances that Hollywood could craft no better in any feature script.

A warm and curiously engaging film despite many flaws and the sloppiness of its construction.

Like a moving cubist painting, Where is Where? is created to confuse, and yet inspire. With the combination of silent stock footage, and sparse theatrical settings the film may seem very long to some, even if it is only an hour. Making it to the end, however, is very rewarding if you are willing to put in the effort.

Sadly, everything is predictable, which is to the detriment of the mostly fine, young talent that appears in this ineffective retread.

A hard luck, true life fairy tale story told with poignant humility, embellished with solid acting and determined direction.

Neither hater nor admirer, I still get wrapped up in his (Owen) mannerisms and emerald stare.

This is a brutal, exhausting, and genuinely horrifying little ghost flick.

He's preaching a story we must all hear. This is no fairy tale.

Wise and respectful of its audience, "Cloudy" thus never stops the fun.

It’s not a perfect film, but it’s definitely the Soder-side I prefer.

The difference between “Juno” and Jennifer’s Body, I realized, was that Diablo Cody's disgustingly smug dialogue -- supposedly so winning when spoken by Juno -- is much easier to swallow when it comes from characters who actually are disgustingly smug -- like Jennifer.

In The Burning Plain, another directorial debut, sensationalism is on order, but it's buttressed by fear, suffering, and desire – the schizo-blend that makes Arriaga's scripts so unique.

Once you get into the groove of Harmony and Me and realize the film is not only very tightly scripted, hilarious, and quite brilliantly acted, you’ll quickly be won over.

Masterpieces of literature-to-film are a rare breed; this film falls short with satisfaction.

To sum up Beavan’s message, he’s not saying you should give up toilet paper. But you should give up what you can. Help any way you can. Do all you can.

The nine characters aren’t machines, exactly, but they aren’t people or animals either. They’re little cloth pouches that can move, communicate, and make facial expressions that range from ornery to cute. At some point during the movie I began mentally referring to them as the Owlish Beanbags.

Easily the most disappointing movie of the summer, Extract is more significantly the biggest letdown of its esteemed creator’s career.

While elements of the film may be a little cliché, I found it highly relatable. It would be dishonest to say I didn’t enjoy myself.

Comes across as a little uneven, but far from unsatisfactory. Patton Oswalt is sympathetic (at times heart breaking) and makes the film completely worth watching.