I think this one of the first King movies to legitimately give me the creeps.

Fast 9: The Fast Saga is a stupid, stupid movie. It lacks the fun and humor of some of the better entries, and it also lacks in the character development department.

Has a few high points, but feels far too disjointed and slapdash to favorably compare to what came before.

Jarhead does feature stunning visuals. Mendes and cinematographer Roger Deakins have created some fantastic imagery.

Some of the acting may not be the best and many of the points aren't made with a soft touch, but damn, I can't think of another film about addiction with a more accurate view from the inside.

Watching Flamin’ Hot mirrors the joy of scarfing down a bag of the crunchy red stuff yourself. It makes your eyebrows raise, is instantly addictive, and goes by very fast.

Ultimately a rewarding -- if weird -- experience. It's just too bad that it takes so long to get there.

Great cinema it isn’t. Great fun, great music and great company more than make up for that though.

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

The shallowest "serious" film to be reeling this year.

Tiresome, trite and choked with every lousy Dixie-fried stereotype imaginable.

It’s unfortunate that The Swan doesn’t fully catch fire as a family drama or a rites-of-passage story, but a film with such a rich and finely honed sense of place is one that nevertheless deserves to be seen.

After watching the documentary, I hope that as critiques of the male gaze become more and more mainstream, audiences will see through the many cliches and understand the ideology objectifying women in cinema. And as they gaze back, I hope we all realize that they have complex stories to tell.

A tough sit, but it attracts more than repels you. It commands your attention. Once it lands its hooks in you, there's no tearing away.

Filmmaker Ron Mann and actor/activist Woody Harrelson have followed up their hilarious 2000 documentary "Grass" with the equally amusing Go Further.

A little sentimentality can fuel a lot of action, yet Zwick buries his film in cloying guilt, in the end sinking Defiance with the holocaust film's bait.

The plot is romantic comedy boilerplate from start to finish and, with the story's outcome a foregone conclusion, the least the director could have done is throw in a bit of cultural enlightenment to keep the audience occupied while he connects the dots.

The Motive is a fun, light film with a sad sack lead we can love and good laughs sprinkled throughout.

One of the best Sunday Afternoon action flicks since the glory days of Schwarzenegger.

Quantum of Solace may be explosive with images of fiery infernos, but it's convoluted and confusing, the plot playing second fiddle to its set pieces.

Obviously, this is one subject which may not seem to require the attention of documentary filmmakers.

There are some intense, heartbreaking moments in this film, but I am glad to say that the ending is not as sad as it could have been.

Attempting to compare “Freaked” to any other movie would prove an exercise in futility. This is a singular film—a wholly originally movie that, despite its flaws, will win over the most jaded film fan simply because it is uniquely and wonderfully bizarre.

1. It has the potential to supplant "The Rocky Horror Picture Show" as the greatest audience participation movie of all time. 2. It is, simultaneously, one of the worst and best movies I’ve ever seen.

Thoroughly obnoxious and relentlessly unfunny comedy.

"We are who we are," is the mantra for this grim urban drama. That human escape velocity can be awfully hard to reach with all those bad influences hanging around.

A cold war thriller told from the Russian point of view which gives it the appearance of having more credibility and dark truth than if this were an American story.

In throwing hatchets at Murdoch and his silly Fox network while pretending the rest of the media world is fine and objective, the film comes across as a shrill, one-note slam against a very easy target.

The only reason to see this film is if you’re a fan of any of the actors. Everyone is good, but ultimately, the story will let you down.

Provides a highly provocative and humorous overview of a word that, love it or hate it, undoubtedly holds more power than its measly four letters might suggest. All in all, I'd have to say that this film was entertaining as f*ck.

Waititi masterfully balances the film’s comedy with the seriousness of the subject. He plays with your emotions to heighten the impact of the story’s message. Nothing in this film feels gratuitous and the tonal shift in the film will hit you like a ton of bricks.

Mother Mary is an art film at its core, and will not suit everyone’s palette, but for the audience it connects with, there’s a beautiful journey from sorrow to confession and possible absolution.

Even if you already knew the facts, you won’' be able to help but reflect in awe at how much progress in the fight against discrimination has been made on a societal level.

Sgt. Stubby: An American Hero is a highly enjoyable and very well made animated feature. It has something for the whole family, is visually impressive with excellent animation, and a fantastic voice cast.

Eastwood is a formidable filmmaker, a force of nature, whose films like Mystic River will forever remain in the pantheon of Great Cinema. Alas, Cry Macho may likewise be forever regarded as a perplexing glimpse at a different side of the man, one who's created this macho persona and who now attempts to absolve himself, to only – pardon my crude use of the idiom – dig his own grave.

Only promised a few good fights, a lot of chuckles, and an easy way to kill a couple of hours. In today's Hollywood that's hard enough to deliver.

Gozu is a riddle wrapped in an enigma wrapped in a cow's head. If you think that this last statement doesn't make any sense, just watch the movie.

An achievement of this magnitude is a stunning and extremely pleasant surprise.

In a sense, Raging Dove serves as an entirely unintentional, I'm sure, metaphor for peace prospects in his homeland.

Children of the Enemy will give nuance to your understanding of the Syrian conflict, radicalization, and issues revolving around resettlement and citizenship.

It may tread familiar territory, but Skin does so with relentless energy, confidence, and passion. I can’t wait to see what Nattiv has in store for us next – and for Bell to get under another character’s skin.

The most frustrating aspect of Police Beat is that it's clear everyone involved has great talent...Too bad all their efforts are lost in the service of pointless material.

Jumanji: The Next Level is a fast-paced thrill ride, and fans of the original will not be dissatisfied. The writing is just as smart as the first, and the main cast revives its original magic.

Bigger, brassier, and gayer than its predecessor, Mean Girls (2024) is a saccharine overload of cinematic bombast.

ZigZag rests heavily on Jones III's sensational turn as the lead character. Capable of drawing empathy without pity from an audience, his ZigZag is the unlikely constant in a world swirling with change and intrigue.

Being released at the same time that Bowie's latest album "Heathen" is being unveiled. Bowie fans who need a reason to celebrate the trajectory of the artist's career can make use of this cinematic Alpha and CD Omega.

First Snow is an interesting and entertaining film. It's suspenseful and kind of scary.

The last 20-minutes of the entire one hour and twenty-seven minute run time really work and successfully make the case that as much as the humans rescue the cats, it is also vice versa. It is just too bad that the first hour does not reach those same heights.

It may not be a perfect confection, but this cake’s got layers.

This is a great hour and 49 minutes of action film.

Somewhat of an improvement over the last one, though it still never veers off familiar terrain. Essentially, if you've only seen one "Shrek" film, you've seen them all.

This hummingbird soars. It has that based-on-a-true-story feel, with all the urgency and verisimilitude of a real-life tale. A sad and visceral indictment of our society under the guise of a thriller, Kim Nguyen’s rousing cinematic elegy will sneak up on you, like its titular moth.

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.

Falls apart with the slightest nudge -- of thought, that is.

Call it a horror movie, a psychological thriller or a feminist splatterfest, but this sort of story is tough to get right. May gets it more than right.

This film's twelve times better than anything else on offer at the moment.

It would be nearly impossible to make a totally bad documentary about the festival, but I have yet to see the perfect documentary depiction of Burning Man.

Good movies make you feel, even if that feeling is not good. Chon ensures you’ll have feelings at the end of Blue Bayou, just not the happy ones.

Unfortunately, the problems with Jedi cannot be fixed even with the best digital software in the galaxy: the weak story (another death star assault, another visit to Dagobah, the exotic planet of the trees, annoying teddy bears), the bad performances..., the burp jokes (three in the first half hour--I guess I missed the toilet humor in the first two) and Luke's bizarre-looking hair mop. It's sad. [Special Edition]

The odyssey that follows reminded me of the one Bill Murray’s character took in "Broken Flowers" - and I mean that in the most complimentary way.

First-time director James Gartner has managed to whittle away whatever was compelling about the 1966 Miners championship run.

"To elevate, to celebrate, to inspire,” another character states about the function of art. Rana and Warin’s film may not be perfect, but it does all three of those things rather effectively.

Max von Sydow is flawless as Ming, playing him with the perfect blend of malevolence and evil glee.

I have always been of the belief that the best way to get things done would be to have some benevolent dictator running things. The problem is always finding the right sage magician for the job. Harry Callahan probably wouldn’t be my first choice, but he sure is entertaining when he shoots people.

Monday succeeds in large part to Sebastian Stan and Denise Gough’s performances.

A small but excellent cast supports McKellen in what is a beautiful and intelligent film.

This is one of the better examples of art imitating life that I have seen in a long time. It’s very real and takes no prisoners. Watch it when you feel like having a good cry.

Mangold attempts to send Indy on one last adventure but never recaptures the glory days of searching for the lost ark.

It all feels good enough, which also feels disappointing at the same time.

The gags are a series of really lame dad jokes, and it’s missing the awe and wonder that will delight children and adults.

Small, amateurish Israeli feature.

This is a weird little movie, and it's an interesting trip accompanying Dick Ritchie on his transformation.

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

While the narrative and the characters are derivations of several aspirations, this still feels original and new. It’s a fun watch; the only hope is that Mukerji and the team will make a cleverer and more rational entry the next time out.

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

Over all though, this is a first rate caper piece elevated by Caine’s effortlessly elegant portrayal. The movie is wall to wall with pompous, sexist, greedy backstabbers and it’s a hoot to watch Hobbs mop the floor with the lot of them.

This thoroughly engaging, if tragic, love story unfolds like a psychological striptease. The biggest challenge here is not to blush.

Pet Sematary balances humor, drama, and horror believably while exploring the inner turmoil of a seemingly ordinary couple; though the script does not go far enough in establishing their new life and dodgy special effects hurt some scenes. Happily, the cast makes up for these flaws with great turns, lead by Jeté Laurence, whose performance is reason enough to watch the film.

Dark, disturbing and original throughout. You know that you’re going to see something a little different than your usual studio crap.

Never less than clever and often digs down into some uncomfortable realities about the strange lives of that odd species known as “movie people.”

Even with everything else going for it, Ezra either fails or succeeds based on the title character’s performance, and William Fitzgerald knocks it out of the park. As with any child acting performance, Goldwyn deserves a share of the credit for getting exactly what was needed from the young actor.

If you're in the right mood this movie will bring a tear to your eye. If you're not you're probably already watching "Reservoir Dogs".

A noisy, chaotic affair.

There are no boring, expository sequences; no depressing, grown-up politics. Instead, Rodriguez gifts us with a kaleidoscope of energy and invention.

The movie is definitely worth checking out for its strong performances and surprising story.

While the tail end of the film does receive cheap laughs, it really does ruin a very emotional end to a rollercoaster ride that is, after all, a man’s tragic life. In fact, if it were not for this tacked on, sleazy wrap-up, the film would have garnered an even higher rating. Do not let this fact dissuade you from seeing this film. It is well written, well acted and extremely engrossing. Just find out exactly when the film ends and leave about five minutes before and you will be very satisfied.

Depressingly inert.

Racism, teen sex, and war are all hot button issues. When you are a young person these things can seem new and confusing. In Alan Ball’s genius Towelhead, all of those above mentioned subjects go hand-in-hand in a truly wonderful cinematic experience.

The exposition-heavy, cluttered finale, wherein the plethora of thematic elements collide and threaten to implode, almost undoes the painstakingly built-up sense of melancholy/paranoia. Yet it’s refreshing to see a wide release aspire to be something more than just another creature feature, slasher, or zombie gore-fest. Antlers has something to say. It should’ve just spoken less, and more eloquently.

Like a deranged version of “Clueless,” the film is light-hearted, yet subversive, displaying a surprisingly wicked bite…literally.

After sitting through this movie, you will want to throw something more pungent than rice at The Groomsmen.

Roos creates a slate of interesting characters who find themselves in unexpected situations that lead to realistic--and in their own way, happy--endings.

This is a unique, well-acted, handsomely produced movie, overall, the kind of thoughtful and wholesome, high-concept drama that you don’t see much, anymore.

The Aviary is a stunning work of art about how people get sucked into something offering a glimmer of light and how that light becomes distorted.

A well-done, oft-times entertaining documentary as it presents this unique brand of matchmaking that may or may not be the ideal situation for both parties.

Cimino fashioned a deep, multi-textured screenplay rich with fully dimensional characters. His ensemble cast brought the story to vivid life. Kristofferson gave a career peak performance here as a man who seems perpetually out of his element.

It is a good movie, but what elevates it from the pack are the performances from Riz Ahmed and Octavia Spencer.

Does it have its moments? A few, but those alone put it head and shoulders above similar offerings featuring, say, Julia Roberts.