Affleck carries a great deal of weight in the movie, but its Pniowsky who shines as the young pre-teen learning quickly what it means to be an adult.

Part of what makes this film a must-see for Titanic fans is that it truly puts you closer to the wreckage than anyone else can get.

B movies are fun because they're rinky dink. I got the joke and just didn't like the joke even though I respect Gunn for doing what he wanted to do.

In a film full of great performances, Ralph Feinnes steals the show as Harry, the boss.

A treasure in celebrating remarkable women with a unparalleled zest for life.

Aside from the poorly considered inclusion of staged drama, Framing John DeLorean competently breezes through the rise and fall of the legendary car mogul.

If you happen to be in the mindset for a long, leisurely, spiritual cinematic rumination about the fragility of life, the futility of our professional pursuits, the power of femininity, and the sheer bliss of living in the moment, then delve right in. The writer and director’s aim is not to shock or devastate, nor elicit any strong reaction, but to make one ponder the Meaning of It All.

The filmmaker’s careful modulation of tone and rhythm, how gradually he reveals mysteries, and the mere fact that this is a dialogue/character-driven horror tale make it hard to believe that this is O’Brien’s feature-length debut.

There is a great deal of heart in My Old School.

The movie's strength is in the performances. And they're enough to make Steel City worth a look.

I'm sure the filmmaker would disagree, but, honestly, I don't see the point. It's a visual Rorschach test and I must have failed.

Where earlier Moore films showcased a fair amount humor, even when covering weighty topics, Fahrenheit – especially the latter half – gives us Moore at his most serious.

The film is not without its problems, some inherent to Wilde's original play.

The performance of Fathia Youssouf is impressive as she transforms her diminutive, naïve self into a towering force.

David Gordon Green’s Halloween is able to graze the brass ring that 9 other sequels and remakes have tried to touch, but it still doesn’t run home with the prize.

It is a sprawling, ambitious and very long look at so many things, it's almost a miracle he was able to wrap it up in just two hours. And yet, for a film that is principally about death, the conclusion is surprisingly life-affirming, especially coming from Kaufman.

The two actors (Hanks/Seymour Hoffman) have terrific chemistry and riff off one another like partners in a veteran comedy team.

This film is pure delight.

More inanimate than haunting, The Little Stranger is Abrahamson’s least interesting feature.

It’s stale, a relic from another time that’s strenuously updated and forced into 2024.

Shows that war is horrible, but fails to fully understand the people who experience the horror beyond their sad exteriors.