You can expect the same defecation and drug humor that crud up comedies of this ilk. Of course, its vacuity is intentional, and maybe we could always use more movies of the women-behaving-badly variety. But there’s also a real danger in perpetuating this type of teenage girl; it propagates the idea that, for women, defiance is power, radicalism is freedom, and being really hot is often all you need to survive.

Jackson gives an amazing, nuanced performance as he teeters on the edge of paranoia. Spacey gives a great, toned-down show as I guy who's in over his head trying to find out what the hell is going on.

There is nothing wrong with grade-A prime aged Angus beef, but sometimes all you really want is a McDonald’s hamburger. “Major League” is the quarter pounder with cheese of baseball movies. There’s nothing original about it, all the characters are stolen from other books or movies, but it understands the longings of a starved baseball town, and manages to wring out plenty of laughs from familiar situations.

Actually one of the better comedies I've seen this year speaks volumes for the quality of the performances and the caliber of the script.

As a violent, supernatural adventure, the film should attract both action and horror enthusiasts alike, yet Evans ends up slightly short of thrills and ambiguity, which are always valuable aspects of the genre.

Stiller is laugh-out-loud funny from start to finish and anyone that may quibble about plot minutiae, is just not ready to have a good time.

Stop-Loss is a bit uneven. Mixed messages abound.

By preserving the core narrative, characters, and emotional arc of the original, the live-action remake remains true to its roots. Though the cast is new, the heart of Hiccup and Toothless’s friendship still soars.

It’s a crisp piece of entertainment that was worth waiting for, considering that I’ve been waiting quite a long time to see this ever since reading the book.

I think that All The Bright Places is a beautiful film. You will probably cry, but it will be worth it.

Go with the somewhat far-fetched concept, get past the overt sentimentality, and you’ll find a true crowd-pleaser.

The Year Between culminates with a beautifully emotional scene, but the journey to get there is a challenge, much like for those who are suffering from a number of mental health issues. But the performances and the overall message of empathy made it worth it all for me.

It’s rare that something as formulaic as an action thriller could be so moving.

It is not only the year's best documentary, but it is also among the finest films ever made about religion.

To complain about the lack of originality is to ignore the real wit and joy behind this very fun film.

ANIARA has plenty going for it — a great concept, a coherent tone, an uncompromising vision, and an ending that’s the ballsiest thing I’ve seen since AI. Sadly these virtues are undercut by some unforgivable sins — it is boring, has underdeveloped characters, and has a childlike understanding of the scientific concepts supposedly undergirding the plot. One of those could be forgivable, but all together they spell doom.

It’s a story of very flawed people who followed the pied piper to a new world that doesn’t exist.

Wright provides a film of hope and faith with extreme, challenging, and harsh realities and presents them with flawless character and a connection to nature and its healing properties.

A fresh and rewarding take on cinematic terror.

This raw truth, this emotional nakedness, is deeply refreshing.

Beneath its morbid exterior, Sunshine Cleaning projects a tender portrait of how people help out others and seek a better life for themselves.

Remembering Gene Wilder is a beautiful, affectionate, albeit brief, biography of an actor who was adored by all.

Quirky, entertaining documentary.

Just like “It’s A Wonderful Life” is shown on TV every year, The Polar Express should appear in IMAX theaters that traditionally.

While the episodic script feels fragmented, Macy’s consistency unifies Edmond’s journey.

Levinson doesn’t seem to care about redemption, guilt, or any of that other nonsense. He wants to make “the great American baseball hero movie.” He wants to say something about old neighborhoods and fathers and sons playing catch in the late summer evening. The cinematography is lush, the Randy Newman score is epic. The period detail and baseball scenes are top notch.

If you have ever experienced the crushing effect of young love, you owe it to yourself to check out this gem of a dark comedy.

Enter Horse Girl with an open mind and enjoy the ride.