The film does not know what it is, tonally changing within and between structural acts.

Give Harsh Times an "E" for effort, but not much else.

What was needed was either a Stanley Kubrick, or, well, the Farrelly Brothers. Instead we get warmed over Spike Jonze. Still, a little watered down Spike Jonze has to be entertaining some of the time, so this isn't a total loss.

Easily the most surprising comedy of his career. The surprise: it's not funny.

Although there are a few other flaws in the film (flaws that will not be mentioned since it would give away major plot points) and the lack of character development is a major oversight by the filmmakers, Return to Paradise still manages to grip you until the fateful ending, an ending that is very powerful and must be witnessed to be believed.

Transporter 2 was directed by Louis Leterrier and he exemplifies a perfect style for this type of film by showing us the action without editing it to bits.

The script, written by David McKenna, is extremely impactful, as are the performances.

Luke Wilson has done some of his best work in dramatic roles (see "The Royal Tenenbaums" for clarity) and while he is not playing an entirely serious role here, his performance is still the most engaging.

I find nearly every film about mentally challenged characters excruciating to watch...None of these movies ever come close to accurately depicting what it’s like to live with mental challenges.

The final act is all but guaranteed to astonish and satisfy. See this movie.

By the time the film is over it is not so much a "who-done-it?" but a "why-did-we-sit-through-this?"

While Cabin Fever takes its horror very seriously, it still shows that it has a sense of humor.

A consuming and stimulating work and a theoretical thriller, it is a film which could only be created by a remarkably skillful filmmaker.

What remains undeniable is Englert’s directorial chops. Bad Behaviour is exactly the story she wanted to tell. She couldn’t care less if you hate it or love it, refusing to pander to anyone’s expectations. Good for her. That sort of bad behavior is what makes her stand out as a filmmaker.

Amy Adams delivers the knockout punch that will leave you floored by just how close it hits to home.

It is an entertaining bit of fluff, with a few engaging performances and enough visual panache to keep audiences diverted and amused.

Watchmen is indeed gorgeous, with Gibbons' original work reproduced and – in some cases – improved upon by detailed F/X, but even at a healthy two hours and 41 minutes the story feels truncated. Even abrupt.

Deadpool & Wolverine is an absolute blast, mixing savage humor, intense action, and heartfelt moments. Let’s hope this isn’t the end of the line for this dynamic duo – we need more adventures in this brilliantly chaotic universe!

The direction is lackluster, the child actors – with the exception of Eisenberg – are pretty dismal, and the whole thing is about 15 minutes too long.

Leatherheads is as trifling as Clooney’s second movie (“Good Night and Good Luck”) was significant, but that’s okay. It succeeds where so many other romantic comedies fail because of a superior script and because everyone involved has the good sense not to take themselves too seriously.

In the end, the whole shebang comes off like a bunch of snotty, rich white kids screwing each other and screwing each other over.

If only there had been more Salma Hayek.

1BR has a lot to say about what a person is willing to sacrifice to be happy and if said sacrifice is worth it. It does so effectively and intensely, with a smart script, a few plotholes aside, and excellent directing. The acting across the board is terrific, and the culmination of Sarah’s tumultuous journey during the berserk ending is well worth taking.

There is energy to this film that is somewhat different from Nunez's others. Along with a terrific cast, Nunez keeps the action driving forward: dangerous, sexy, and conflicted.

Disco is about how toxicity seeps into everything from masculinity to religion to parenting and, yes, even dancing. It’s as beautiful and heartbreaking as watching a dancer pirouette into an abyss.

Ultimately, I walked away wishing the story would leap out of the good category into greatness. But grab your young kids, lower expectations a bit, and you’ll have a good time with the animated antics.

Valkyrie just misses out on being a great film (it’s no Black Book), but it easily merits mention as a good one.

If being dull is the cardinal sin of the movies, as Capra supposedly said, then Sorrentino is a saint. There’s not a dull moment in Loro, whether it’s the hypersexual, reality-bending party scenes or the quiet backroom conversations where the truth comes at the characters so unexpectedly, they don’t have time to prepare their usual defenses. All of it is visceral pleasure at an eye-bleeding volume.