Klein’s decision to pull a Kramer vs. Kramer and provide his heroine with next-to-no discernible rationale for bailing on her family both pays off and becomes a minor hindrance.

Overall, That They May Face the Rising Sun is solid and worth your time. The acting is top-notch, and the story is compelling, but its verisimilitude is truly off the charts. This is the closest you can get to a time machine to take you to a bygone time and place that is little celebrated but worth remembering.

If you’re not familiar with Indian classical music and dance, the film offers a remarkable showcase of both, and you’ll come away wanting to learn more about them.

What really grabs your attention about Undead, however, are the effects. For a movie budgeted under $1 million, the Spierigs have done an amazing job putting together believable visuals.

It is worth seeking out for a brutally honest, achingly realistic, and emotionally compelling look at the other side of petty crime – the slow, painful path to legitimacy.

It’s hard to watch StarDog and TurboCat and not think that Disney and Pixar can do this better. The animation is pretty good with standard cartoon movement and character design. It only lacks the photorealistic details and textures associated with Pixar.

The 1978 film musical Sgt. Pepper’s Lonely Hearts Club Band is a mess…but it is a wonderfully fascinating mess, a mother lode of undiluted insanity.

If you’re in the mood for a dark revenge thriller with terrific acting, then Line of Fire has got you covered.

Beast Beast captures the high school experience like lightning in a bottle.

A low-key, warm-without-being-schmaltzy childhood adventure story that will engage younger viewers without driving their parents too crazy.

Doesn’t so much immerse itself in the movies from that period as it submerges, and does so with pure adulation.

The film’s rapid speed and its surplus of memorable supporting players helped to make sense of the absurd story. And if Benny was not ideally suited for the Bob Hope-level of bumbling misadventures or the Harold Lloyd-worthy climax involving a drop from a hotel rooftop, he gamely pushed ahead to keep the comedy at its patently ridiculous level.

Kevin Bacon's witty and effective, yet squirm-inducing, directorial debut.

This is a film that shouldn’t work. It should collapse under its own weight, but somehow, in the end, it all comes together after a fashion, and that’s the magic of Coppola.

Boasting impressive production values — especially given its budget limitations — it harks back to a more innocent era: a cozy, stylish, and mildly thrilling feature from a promising filmmaker.

Mortimer delivers as a mentally disintegrating wife, but it's Harrelson who provides the most fun, playing against type as the down-home Roy.

Although Soderbergh complicates his cinematic dish with too many flavors, No Sudden Move still offers plenty of bites to savor.

For those who have read any of the McDonald adventures with the reporter (there are nine, not including the “Son of Fletch” novels), Confess, Fletch feels much more authentic. Hamm is given one of the biggest sandboxes yet for his talent and he pulls it off. Here’s hoping for future chapters.

Director Chris Terrio confidently delivers a solid first feature, but sometimes doesn’t always engage in the characters’ inner demons, which could have made an even better film given the cast and material.

If The Return of the King was 2 1/2 hours long, it would have rocked. It would have been better than The Two Towers, which is the best film in the series.

The story takes some kooky turns and, at times, delves into the supernatural.

I found McColm’s film intriguing to watch and fascinated by her satirical take on her subject. If you open yourself to the movie just a little, you’ll find yourself identifying with them in times of great personal and emotional failure.

Just the Two of Us won’t win any points for originality (it seems that stories like this are the all the rage on streamers), but it works as a well-constructed drama that checks the boxes of what people watching it want — an intense tale of conflict with two hot people. In that regard, we can definitely count this as a success.

As to whether it all resolves into a satisfying horror movie, I wasn’t quite convinced. It is a terrific film on a number of fronts, but despite all the madness and carnage, at the end it really didn’t feel like much dramatic had occurred.

This drama is about a real war, actual people, and things that matter. While it probably won’t make a billion dollars at the box office, for my money, a true story well told in a heartfelt way is invaluable and important.

The film-craft is high quality, with the passion and care taken evident. Schwentke brings the brutal winter during wartime to realistic life. If you have historical interest in deep details of the war, or are fascinated by psychopathic war criminals, this might be a film for you.

Giving a boxing movie a philosophical back-alley brain transplant is just maniacal enough to work, especially when you consider the psychological discipline and physicality required to perform at a high level in any sport. In this way, In Full Bloom functions as a visually exciting tone poem and as a soulful reflection on battle.

More than "Rocky" on a horse track. It's a moving story about people and how their lives intersect at just the right time. It's also a simple story about second chances.