A more than worthy (and weird) holiday diversion for the whole family.

It certainly doesn’t hurt that Douglas, De Niro, Freeman, and Kline are just plain fun to watch together. As predictable and occasionally uncomfortable as Last Vegas can be, it’s an assured crowd-pleaser.

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.

A darkly tense drama that rarely hits anything resembling an emotional beat.

Despite being very much a “filmed play” it doesn’t come across as too theatrical. Polanski uses plenty of close-ups and keeps the action moving.

Gambardella’s world-weary look back at his sweet life, eclipsed by his turning sixty-five, is a dizzying fantasia of flash and filigree, and what it lacks in direct narrative is well patched-over with frenetic and emotion-rich sequences. This movie is a sight and sound workout.

It’s just boring – and boring in a way that apparently has no endgame.

Borgman‘s crafty, trickster-ish screenplay, always two steps ahead of you, keeps you rooting for clues, enough to put your ethics on temporary hold.

Alas, despite the timeless concerns of adolescent bullying and burgeoning sexuality, Carrie as a film fails to become its own satisfyingly whole interpretation of coming-of-age horrors both literal and figurative. Its bloodshed may be all dressed up, but it ultimately has nowhere to go.

A Stallone / Schwarzenegger film that isn't completely beneath them.

A directorial debut composed of many of the filmmaker’s trademarks (strong women, pop cultural-heavy dialogue, a difficult subject matter made light by way of wit) that still manages to disappoint when it comes to the final product.

If Her is ultimately better at considering the future than it is at taking us there, it resonates as an insightful reminder that love isn’t obsolete quite yet.

A pastiche of bad film cliches and scenes devoid of any real conflict or character development.

Fellowes' many changes diminish the power of Shakespeare's story.

I recently heard someone describe Gloria as a midlife-crisis drama, which stunned me. In the most convenient terms, I guess that’s what it is. But what Lelio and Garcia pull off here is so delicate and sturdy that it defies such easy categorization.

The absolute antithesis to the pioneering punk spirit it tries to portray.

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

Its final scenes and sublimely framed last, lingering shot are extraordinary.

A bold film anchored by Weigert's impressive lead performance.

Could have been a fun film, but instead merely displays the trappings of one.

More focused and less preachy than its exploitation-riffing predecessor, the comparably shoddy Machete Kills nonetheless peters out in the homestretch (and, for some, surely sooner).

While this is arguably Greengrass’ best film, it’s almost certainly his most urgent.

Not many side-splitting jokes, but a goofy glee is smeared across it all.

Little chance of finding realism or romance but the laughs are there.

Among the stronger American horror films of the year.

The sequel quadruples the recipe, with gags on top of gags on top of gags in a way only animation could achieve. Like a foodie “Jurassic Park” conjured up by Tex Avery, “Cloudy 2″ is a sight to behold … as long as your brain hasn’t turned to mush by the halfway point.

The human imperative informs every aspect of After Tiller, resulting in an unexpectedly warm film.

Directors Katie Graham and Andrew Matthews create a great framework for the epic nemesis battle, but also know when to pull back to keep the movie grounded in reality.