Not bad for a mainstream suspensefest. Gere's good, Lane, as I said, is amazing in places and Lyne does some of his most assured work in years.

The script offers up some deviously clever twists and dark laughs reminiscent of the over-maligned French (coincidence?) Stewart spite-a-thon, “Love Stinks,” only with a jaunty European twist.

With his darker secrets hidden away, secrets that could have provided us with the final layers to this influential man, we’re left with an incomplete portrait of Bayard Rustin. But thanks to the documentary “Brother Outsider: The Life of Bayard Rustin,” we at least have that much. And for a man who’s as important and relatively unknown as Rustin was, an incomplete picture is far better than no picture at all.

It’s an easy target that’s been cinematically dissected many times, with the recent Nocturnal Animals and Velvet Buzzsaw coming to mind... Yet Grant manages to explore the subject from some enticing angles. The resulting painting may be a bit too busy to qualify as genius but contains brushstrokes so vivid it’s certainly worth scrutinizing.

Much like how its employees and patrons don't want to see the barbershop close, once one has become acquainted with these people and this place, one may not want Barbershop to end.

While this adaptation isn’t in the same league as Gordon’s or Richard Stanley’s Lovecraft work, it does have the hideous glow that horror fans will be drawn to.

The film’s intended audience is those who enjoy romantic stories, and it definitely delivers in that regard. Personally, I would have preferred if the story had taken a darker and grittier turn, but I appreciate the filmmaker’s effort to maintain a positive direction.

Burton fans and those eager for a more accurate adaptation of the novel will be happy with this new movie, while nostalgia-addled Gen X-ers and stoners of all ages will always have the original.

Love is indeed the greatest mystery, as Lantana's tagline goes, and while the film is ultimately still and interesting and fairly involving one, it's a bit unfortunate that the filmmakers weren't content to simply explore that quandary instead of manufacturing another.

Violent, vulgar, disgusting and incredibly funny.

The reason that Once Upon A Time In Venezuela is so effective is that it explores a microcosm of the events.

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

This is exactly the kind of movie that improves on subsequent viewings, allowing you to enjoy it more once you accept the narrative on its own terms.

Might've been a great film without Lester, the Deputy, getting in the way of the key relationship between Behrani and Kathy.

Strong performances from Vera Farmiga and Hugh Dillon keep things from becoming overdramatic.

It’s all about the action, and the story only gets in the way a little bit. I have high praise for this, though I’m not sure if The Killer’s Game is the vehicle that will launch Bautista into the action star he’s capable of becoming.

I found the entire emotional journey on which Weightless takes viewers to be rewarding as well as heartbreaking.

An unconventional fairy-tale. There are no monsters to kill, the Prince character doesn't strike you as too charming, and the heroine is not the fairest maiden in the land.

A mostly-smooth, sometimes-uneasy blend of pitch-black drama and absurdist comedy, Sunlight may follow the age-old “road-trip movie” structure, but it fully commits to an offbeat, non-sequitur style/logic that will either compel or repel audiences.

The dialogue is biting, crisp, smart, and frequently heartbreaking. It’s disappointing, then, that the narrative drags in places, particularly in the middle stretch. Brevity is key here; it all just becomes too much.

Overall, there is a lot of flip-flopping between stories, sometimes jumping back and forth more frantically than an episode of "Seinfeld."

First time director Zack Snyder has done an amazing job of creating a sense of doom and dread while sprinkling it with some wicked humor and amazing music.

Ultimately, Greek Mothers Never Die succeeds because it honours the fierce love at the heart of every immigrant family story. It reminds us that mothers have a way of inserting themselves into every corner of our lives, even after they are gone.

Montana Story is a solid film set on a standard story structure.

Halloween Party is not scary, and as a horror movie, that is a problem. But, the characters are engaging and fun, brought to life by a wonderful cast. And the directing and writing are excellent, so there’s a lot for eager audiences to take in. Just go in expecting an engaging mystery, not scares, and you’ll be fine.

Like its Russian hero, it aims for the stars and at times reaches exhilarating moments of weightlessness.

Gustafson gets great performances from her leads, yet the main storyline is not given a succinct resolution.

Gets off to a rocky start as you try to rationalize Lee’s place in the plot, but it soon has enough surprises and funny moments to keep you watching to the end.