A cool movie and a must-see for anyone who wants to see the next stage in computer-generated animation. But it could have been so much more.

There are countless clever dialogue parries as well as some quite outstanding rants. It definitely takes the movie outside of the world of pure realism, but the theatricality is well worth it.

First and foremost I’m So Excited! is late night cabaret – funny, filthy and more than a little bit sloshed.

Smith puts the soul in the machine of Series 7, producing an emotional power too real for reality-TV to handle.

From the concept on down, Cronenberg’s film inevitably resembles the ‘80s body horror with which father David made his name, but Brandon brings his own antiseptic eye to this queasy noir mutation, like “D.O.A.” for a self-serving near-future.

If the word “epic” has lost its meaning in the throes of recent summers, Man of Steel forcefully redefines it.

A very competent film, but it barely pulls you in.

Leaves almost no impression at all.

In a season stuffed with empty eye candy, 2 Guns comes along as something of a welcome burrito — plenty satisfying and hardly nutritious.

Then Bill Nighy shows up and is awesome and punches you in the heart. It ultimately feels like a cheat, and while there won’t be a dry eye in the house, it won’t be earned.

An amiable cast and a satisfying enough story make The Hundred-Foot Journey stick to your ribs, even if it’s hard to swallow early on.

This Chris Sanders fellow knows how to craft a heart-warming animation, and if not for a few minor problems this would have had a legitimate shot at the best animated movie of 2013.

It is -- in mood, execution, and shameless sentimentality -- a Bette Midler movie with an Irish accent.

Tusk is revolting, but that’s entirely the point of Kevin Smith’s admirably imaginative and utterly disgusting latest feature, a twisted fairy tale that trades on gross-out gags and visual shockers instead of actual story.

All the Pretty Horses may end up being a good movie to watch on DVD, when all the footage is restored and we can see the subtle shadings Thornton jettisoned.

It's possible that Ritchie's most important asset is the comic constant within his characters' existential dilemmas. To a man (and, indeed, they're all men), Ritchie's anti-heroes are at odds, in either large or small ways, with their own natures.

A terrible, tired piece of filmmaking.

But as objectionable as its subject matter is, the most objectionable thing is that it's not funny.

In the end, his (Luhrmann) Gatsby takes the fitting form of a cocktail glass, at once undeniably polished and unfailingly empty.

As a movie, quite frankly, it stinks. As an “entertainment object,” it will no doubt find its boosters.

This picture isn’t as showy or obvious as one of his (many) masterpieces, but it is quite good and deserves your time and respect.

Although The Reluctant Fundamentalist raises some complicated questions, in the end, it doesn’t challenge that much.

It's all overblown: too much music, too much cutting, too much zooming, too much computerized special effects, too much clanky symbolism that never works.

Palpably well-intentioned, The Secret Life of Walter Mitty is nevertheless phony to the core.

Despite being clever and crafty it can’t break out of the curiosity shop. It’s the finest diorama in there, but something to admire, linger over then move past.

If only all of Thor: The Dark World could capture the magic of its last act, the film wouldn’t feel like such a chink in Marvel’s otherwise solid armor.

The bloodshed speaks volumes enough, though, even if it takes some time getting to the mayhem proper.

Thanks for Sharing can’t quite find its footing as either a drama or a comedy, and near the end it’s actively sliding off the rails.