Good Fortune is a witty, warm, celestial comedy of errors that splendidly blends the wry world of the Frat Pack with the dopiness of Bill & Ted. It's got great performances -- including a devilishly angelic one from Keanu Reeves -- and offers a fresh, funny look at modern hardships.

Directed by Barry Levinson (this was his sophomore theatrical feature following Diner), the film is quite moving. Redford delivers a great, soft-spoken, naturalistic performance and he's paired with a solid all-star cast. Randy Newman's score is absolutely terrific, too. One of the best he's ever done.

Great stuff, if you can stomach the dated look and content.

While Vanishing Point isn't the ultimate car chase movie as Tarantino would make you believe, it's certainly layered with fascinating subtext and few decent chase elements to keep action fans at bay.

A movie that takes a while to get going, but once everything starts to come together you end up having a good time. If you're into detective films or are just looking for something atmospheric, then Hammett is a safe bet for a quiet night of mystery and intrigue.

Kate Hudson and Hugh Jackman’s performances are a treat in Song Sung Blue. They sing and perform their hearts out, but none of it ends up in service to a coherent vision, let alone one that says something meaningful or profound.

Avatar: Fire and Ash isn’t the technical leap forward that its predecessor was, which is to be expected after three years instead of thirteen. But what it lacks in novelty, it more than makes up for with refinement on every level.

Triple Frontier features a cool cast and a gruesome story about greed, but it fails to capitalize on its own premise.

From the sincerity of the lead performances to the cartoonish gore offered by Werewolves Within director Josh Rubenn. There are much worse ways to spend Valentine’s Day than a genre cocktail for saps and gorehounds alike.

The Return of The Pink Panther is so devoid of life that NASA wouldn't bother to send probes to investigate it.

It's a heartbreaking tragedy, dreamer's comedy, and saucy stumble through double-edged "success" stories, but most of all? It's a bloated, brass-band-swingin' mess.

Though Skincare’s script lacks bite or balance, Elizabeth Banks gives a riveting lead performance with assistance from Lewis Pullman as her sketchy sidekick.

The cast (including Brooks, Anne Brancroft, Christopher Lloyd, Tim Matheson and Oscar-nominee Charles Durning) does their best to keep the laughs flowing.

Peter Pan & Wendy is a beautiful take on the classic children's story, retold for all of us who chose to grow up and continue to struggle with our decision.

Crowe is magnificent as Hando, the leader of the gang whose decisions land them all in hot water and Daniel Pollock (who killed himself during post production) is right there with him. It's a tragic, harrowing little film.

Rise of the Teenage Mutant Turtles: The Movie soundly trumps other Turtles reboots in the humor and heart departments, although its simple plot keeps it just short of amazing.

Real-life tragic romance Spoiler Alert is kneecapped by the plainness of its storytelling, and only marginally saved by its performances.

A young Jennifer Jason Leigh is exceptional, and Judge Reinhold provides a solid central character that nearly everyone in the film relates to.

Demon Slayer: Kimetsu no Yaiba - To the Hashira Training is a visual delight which will please the series’ biggest fans.

While Fear Street Part 2: 1978 still offers some thrills, it's not a cut above its predecessor.

Black Phone 2 is a template for how sequels can reach further and push for standalone appeal, bringing us as close to Freddy Krueger as we'll get until there's another A Nightmare on Elm Street.

The Wretched's endeavor to meld a junior mystery with some pretty extreme horror works more than it doesn't, but ultimately neither side of this narrative coin gets explored as much as it should. Despite this, as a well shot and admirably executed thriller, it's a good entry into the catalogue of on-the-cheap scares.

Vice is a funny and vicious political commentary, revealing in clear, thrilling detail a man whom filmmaker Adam McKay considers one of the most insidious and dangerous political figures of the last fifty years. But that viciousness also makes Vice one-sided, even reductive.

Ocean’s 8 is the most satisfying installment in the franchise. The all-star cast is impeccable, the shift in focus yields sharp insights, and the heist itself is wily and enjoyable. What the film lacks in suspense it makes up for in style, and that style has undeniable substance.

Director Liesl Tommy and co-writer Tracy Scott Wilson provide a shocking backdrop for Franklin’s life, and Hudson balances all this with a skill that’s worthy of a second Oscar nomination. It feels more like a Broadway-ready musical than a biopic, but that doesn’t take away from the impact of the performances.

All told, it's a terrifically entertaining tale filled with humor, heart, and allusions that are sure to delight fantasy fans.

Abominable is a simple, sweet, slight story that’s been told before, and told better.

Riz Ahmed makes for a vigorous lead in Aneil Karia’s contemporary British-Indian Hamlet, which loses its emotional clarity beneath an intriguing exterior. Its use of silence and intimacy grants it a fascinating texture, but the film never challenges or re-invigorates Shakespeare’s greatest work, ensuring that it ends up somewhere in the middle of a lengthy pile of adaptations.