Miller’s Girl is a stunning debut from Bartlett. The plot is winding and intriguing, with an absolute gut punch of an ending.

A grim and gritty movie, but sardonically funny at the same time.

Writer/director John Kesselman serves up a stylin' live-action spoof that irreverently milks stereotypes and bravely pokes fun at that which is usually sacrosanct.

The entire film seems to be the book’s narrative highlights strung together but rarely spotlights any of the themes or subtext from the book (if there are any). I don’t think this David Lynch film is Lynchian in any way. To me, Dune is a straightforward adventure with very little depth or character motivation outside the genre’s tropes.

Regardless of the poison of choice, I'm always a little miffed when an actor onscreen is supposedly on a specific drug but too lazy to learn what the actual side-effects are.

House Party puts out quite the spread and has put effort into its lights and music. But nothing that happens will give us any inspiration to accept an invite to future festivities.

An overly ambitious guilty pleasure with enough action and violence to keep you interested, it just doesn’t have much else.

You cannot laugh along, MST3K-style, at its awfulness. Instead, you are left numb, dumb and completely baffled at the thorough incoherence and painful lethargy of this endeavor.

Does for psychedelics what "Boogie Nights" does for cocaine; displaying in graphical detail the ultimate failure of drugs as an escape route.

A series of pretentious social commentary punctuated by windows of excellence that only make it more frustrating.

To put it in the best light possible, I recommend thinking of Four Christmases not so much as a really short movie but as a very special holiday episode of a sitcom.

Nothing here is left to the imagination, Pesce running down the list of clichés and ensuring he includes every single one. Once the realization that this is yet another cheap-o retread settles in (about 10 minutes in), the rest becomes agonizingly painful to sit through.

While Shelby Oaks doesn’t necessarily bring anything new to the horror genre, it does just fine with what it has to work with. If you look past the fact that it’s created completely out of pre-existing tropes, you can enjoy the story. It’s made well, the actors are all good, and the cinematography and audio are all done at a high level, especially for a new director’s first film.

Everything in Easter Sunday is played for laughs… crazy family, wacky mob thriller, and lots of cameos. It’s all good, light fun. See it because you’re a fan of Jo Koy or just to get to know a little more about your Filipino brothers and sisters.

It's such a dumb movie, it's hard to believe it wasn't an SNL sketch first.

Works best when it sticks to some of the tenets of successful horror; namely, gore and surprise.

The bottom line is the movie's a mess. Friedkin would like one to believe there's more than meets the eye to his tale of two trackers.

What could have been the most boring, unwatchable crawl-up-your-own-asshole picture instead becomes a gripping, searing portrait of a lost soul trying to find her way through life. Stephanie Bennett is amazing.

It is a deeply powerful story and an enjoyable watching experience. The story is real, the directing subtlety emboldens the emotions, and the two McGregors are excellent. I thoroughly recommend this drama.

Come Away is just a heart-rending, joyful, and gorgeous movie that everyone should take their kids to go see.

If you’re hoping Fatman is an explosive, hog wild bullet storm of Christmas camp, dial back your expectations. There’s always next year. If you’re good, that is.

A welcome return to the raunchy hey-day of comedy, a true guy's film.

What you won’t be able to ignore is the ridiculous way Vantage Point’s brings everything to an end.

What could have explored the real complexities behind a serious issue instead became a self-congratulatory pat on the back for holding a specific viewpoint, and a boring one at that.

Waltzing with Brando never gives Zane the opportunity to go deeper, which makes for a forgettable film and a lost opportunity for what could have been the role of a lifetime.

If you want to make an indie comedy, watch and study Eat Wheaties!

The movie knows what it is, and undoubtedly offers some tense moments, but once the plot contrivances start to stack up, Unhinged becomes too silly for its own good. It leans heavily into the violence to distract, but the flailing story surrounding it.

Shaft attempts to hide its own prejudices by simply acknowledging those issues, without so much as a trace of depth or substance.

This is what "Nightmare" fans have been waiting fifteen years for.

Gratuitously brutal, chronically preposterous, abysmally unoriginal, pretty much pointless and virtually 100% free of credible characters, Derailed represents career lows for its stars while marking an unpromising English language debut for its director.

Bratt's fast-talking, all-attitude interpretation is showboating without soul -- which can be said of the entire movie.

It comes off as an amalgam of everything that was cool in 1996, when we first saw the trailer.

Even though children will probably enjoy the film, without any intelligent humor or surprises, Max Keeble's Big Move will definitely disappoint those who were born before 1988.

The much-publicized decision to go "younger and sexier" with the casting--a move that turns out to pay off handsomely, enhancing and enriching the material.

The Bromley Boys is a light comedic drama, and you’ll have a good time if anything British is your cup of tea.

The convoluted movie feels like a bunch of grandiose ideas in search of a connecting thread. Perhaps Cahill needs to reconnect with his indie roots to get his creative bliss back.

Ultimately, Father Stu is unlike any other faith-based film I’ve seen. It’s raw, honest, and uplifting without tapping into preachy territory, which ultimately makes it effortlessly uplifting.

The performances are remarkable, particularly from Kingsley, and I love the script. I can’t wait to see what Dan Kelly and Devereux Milburn do next, whether it’s together or separately.

Much like anyone in the throes of recovery, this journey is not a nice, tight, three-act Hollywood story with a perfect dramatic ending. Finding “normal” is a distant speck on the horizon for Hogancamp and this film depicts only a small segment.

The characters’ actions here are goofy, immature, unsettling and at times downright silly.

An interesting idea, thoughtfully acted and visually intriguing. However, it is nearly undone by a lead character that fails to represent the general idea that the film is allegedly about.

The release of Fantastic Four marks the beginning of the end for movies based on Marvel Comics' upper tier of characters.

It may not quite reach the heights of Fargo, but if you enjoyed Cold Pursuit or the inferior-but-similar Daughter of the Wolf, then Blood and Money will be right up your dirt road.

It’s a shame that this film’s star-studded cast wasn’t able to save the mediocre storyline.

A movie celebrating the life of the greatest military conqueror the world has ever known should feature a bit more conquering.

It’s a film that walks a fine-line between serious superhero flick and slapstick, giving the audience a conglomerate of great martial arts moments intertwined with some very funny dialogue and impetus.

If I had the ability to engage in hyper-time, I would’ve ran up to the box office, snatched my money and left.

The series has turned into the cinematic equivalent of a flat bicycle tyre – it starts off with lots of air in it, but can quickly go flat when punctured.

Cage is the glue that holds it all together, with a determined obsession in everything he does here.

Director Mike Bencivenga takes what could so easily have been a trite, cliche-riddled melodrama and instead, somehow turns it into...well, a wry and moving melodrama.

The 355 is good old action fun with a well-constructed story and better than all of the bad James Bond movies. That’s right, Octopussy! I’m talking about you. I’m hoping The 355 is the right direction for female-driven action movies.

One of the drawbacks to rushing your sequel to theaters is that there's not a lot of time to hone dialogue and performances.

Louis C.K. should’ve applied sandpaper to the movie’s rougher edges; he should’ve adopted the jazzy, purposefully meandering, “anything goes” vibe of his previous outings. The comedic drama starts off like that, then collapses in its last third in a heap of sentimental mush.

As palpable as the atmosphere is, had the film boasted a clearer, more memorable story and performances that were a step above adequate, the creepiness wouldn't have simply lingered with the viewer, it would have gotten under their skin.

More tongue in cheek than its predecessor, and yet less over the top, it won't do any permanent damage. Of course, it won't leave much of a lasting impression, either.

While the film is flawed, lacks desperately needed humor and is filled with cliches, the attempt to explore the human cost of all those cool explosions and destruction is an admirable one.

If Pachman intended to reiterate the difficult plight of migrant workers, our disregard and abuse of them, then point made, I guess. Yet for a film titled Beneath Us, it certainly never digs deep under the surface.

Aside from the pesky problems of tone and lazy writing, the whole move is a little choppy.

A 'so-so' movie. It's not particularly good, but it's competent and more or less successful in its goals.

We may not learn about Casanova the gambler or the spy, but we get to see a vulnerable side previously unexposed.

As we all creep back into the theaters from our COVID cocoons, it serves up just the right amount of cinematic comfort food to keep us coming back for another serving.

If you were expecting a small art film, you know you're in trouble when the first thing you see is Jim Carrey.

Don't get your expectations up, but "LW4" is a decent enough date film.

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

This cinematic train wreck reminds me of when Hollywood decided to cash in on the success of “Chinatown” by making a sequel...

The movie doesn’t even try to break new ground–it’s shot entirely on location in familiar Ferrell-McKay territory.

Hits an edginess that will keep today’s audiences laughing.

It's all a case of been-there, done-that, although the singing is nice. Still, do we really need another movie with thirtysomethings who ache to re-live their college years? C’mon, guys, grow up!

I Love America doesn’t delve too deeply, or at all, into things like the American dream, the implications of aging in contemporary society, cultural/generational differences, or the lasting marks one’s parents leave on their offspring. As it stands, the film is a cute little love letter to the City of Angels, bound to evaporate from your mind sooner than a meal at the In-N-Out.

The screenplay has a lot it wants to say and does so in a fun, murderous way lined with wicked humor. All the actors understood the assignment and successfully pull off their roles.

Saint Clare will sneak up on you as it did me. It’s a murder mystery with dark horrors and giggles blended delectably.

It is Foy’s performance and presence that makes you want to stay to the end. She is the girl thrust into leadership with the vulnerabilities of her young age and with youthful curiosity. She’s not a child pretending to be an adult, but a child forced to act like one.

Absolutely--four out of five stars for being cuter, funnier, and, besides, the character design far exceeded my expectations.

This is a thoughtful, visually inventive film showcasing Zemeckis’ continued willingness to push cinematic boundaries.

About as bland, predictable, and self-important as you’d expect.

More "Heat" than "Eraserhead". It's all good. Just don't be disappointed if it's not what you were expecting. Try to enjoy this for what it is.

A small, no-budget, seemingly unsophisticated film that creates a minor energy miracle by fueling its running time on pure raffish charm.

Watch The Deliverance for Close if you haven’t already done so. However, a performance of this caliber in a movie like this is like seeing a BMW 5-series being used to do donuts in a field of manure.

The ambiguity in this glacially-paced but atmospheric and at times striking little film doesn’t so much tantalize as frustrate – only because the filmmaker duo approaches something so much deeper, wiser, and subtler.

Inherit The Viper had the potential to be an exciting thriller with dramatic family elements. Instead, its characters fall flat as if the actors were not allowed or unwilling to flesh out their characters more.

The broad shape of the ending is predictable; by the time you get to it, you could probably write the final confrontation yourself. This a likable, well-intentioned movie, but those qualities don’t take it far enough.

Director Steve Carr ("Daddy Day Care") tries nothing new in the world of aesthetics. Should be no surprise considering that any film put out by Adam Sandler's Happy Madison Productions doesn't really need to take any kind of cinematic risk.

UglyDolls is good for the kids and a great way to occupy their attention for almost 90 minutes. For the adults, it’s just another uninspired children’s film to hold us over until the next one comes along.

Chick Fight is an effective and modern twist on the classic fight club story. It, in many ways, reaches audiences in ways that other films with a primarily female cast are unable and delivers neverending excitement, intensity, and entertainment.

Something in Toback’s approach to the subject of sex, somehow both lecherous and detached, makes it tough to get a handle on the film.

World Traveler did seem completely aimless for the first third. However, once I comprehended where Freundlich was going with this, I began to really enjoy where the film was taking me.

Gracefully directed by Fried Green Tomatoes and Justified director Jon Avnet, Three Christs is a great dark comedy about a dark subject. I can’t say enough how great the performances are. It’s a relevant character study on those who suffer from mental illness and the ones who treat it and why they do.

I completely dreaded sitting through this movie...Two-hour purgatory.

Though this rude and crude film does deliver a few gut-busting laughs, its digs at modern society are all things we've seen before.

When the film goes into its second half, the initial fascination has almost worn off. You still want to see how the puzzle is put together, but you want to see it rather sooner than later.