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.

With two of the three engines effective, Twelve and Holding unfortunately breaks down by trying to wrap up its problems too neatly. In this vision of early adolescence, the script throws in solutions when the preteens are still feeling out their issues.

Portraying the same 1945 confrontation from the vantage point of the Japanese was an inspired idea. Unfortunately, the movie it inspired is something of a letdown.

There is humor, drama, and sexual indiscretion, with entertaining and sometimes insightful moments, but the themes are so narratively ill-defined that it never gels.

This is a gentle, understated character-driven piece that has more in common with European romantic dramas than those made in this country as a rule.

Waiting… is only intermittently funny, but when it is, it's hilarious.

This is the kind of film where you think you can predict everything that’s going to happen upon the first shot and you spend the rest of the film praying that you’re wrong. But it’s fun getting there.

A moving and stark reminder that the casualties of war reach much further than we imagine.

Smart and full of sharply drawn characters and wonderfully snappy dialogue.

Patrick Sheane Duncan's script deftly weaves together the stories of Serling and Walden, and Zwick remarkably sidesteps the trap of sticky sentiment--an idea further carried forth by Ryan's admirably against-type (and shamefully unsung) performance.

Fascinating as it is to see the sheer drive and determination of a man who builds his persona with unwavering dedication, Loudmouth can appear somewhat hagiographical in its approach. Sharpton is too fearless for such a style and has never shied away from confronting those who are angered by his words, for, as Dr. King once said, “In order to love your enemies, you must begin by analyzing self.”

While the images presented here are peerless, James Nachtwey is a fascinating individual and it is a shame we cannot learn more about the man behind these extraordinary images.

What Swinging Safari lacks in the story is made up in originality and a satisfying art direction.

What might just be this film's greatest strength is how it shows that no matter how "different" we might appear to be on the outside, what's on the inside is what provides our common bonds.

A Gen-Z Bonnie and Clyde, Marmalade takes big, admirable swings, and while it misses some, it avoids the cardinal sin of being boring.

While I could probably spend an entire weekend watching Milla twirl her kukris, it's obvious from the rather lazy pacing that Anderson is growing increasingly self-indulgent with his creation.

Imagine a blend of "The Wizard of Oz," "Beetlejuice" and "Roadside Prophets" and you'll know exactly what Wristcutters is like.

While this is far from an avant-garde, ingenious flick, it uses a dependable formula that’ll definitely deliver.

While not a classic by any means, is still a mostly entertaining experience.

Slow paced, but interesting.

A lyrical poem to the lost places in our past and our heritage.

What it makes up for with sheer visual magic it lacks in coherent plotline.

It is hard not to recommend anything starring Rogowski, an actor so unique in approach and delivery that I always relish the opportunity to see him in a major role. I wouldn’t necessarily go so far as to say that he saves Luzifer entirely, but he certainly makes it watchable.

Despite the many things it does right, atmosphere and casting, mostly, it doesn’t give you any reason to remember it.

McGrath's new film offers a treat for fans of Dickens and moviegoers who love to see a fairly large cast ham it up with delirious abandon.

The Beach Bum is not a terrible movie. The directing is competent, the score is excellent, and the cast is game and hilarious. However, considering who was at the helm, it is not focused enough and winds up with nothing to say.

What I loved about Lanthimos’ earlier movies was that they moved my heart while making me squirm. With Kinds of Kindness, his Tin Man could use a lot more heart.

The notion of exploring how a young boy views the world through his manipulative older sibling’s eyes – and how poverty affects that developing worldview – is not a bad one. It’s just delivered haphazardly. I applaud McAulay’s efforts, but Don’t Tell a Soul is at its best when it’s simply having fun as a silly B-flick. Shut your brain off, enjoy – and, like with any guilty pleasure, don’t tell a soul you liked it.