While the movie could be a notch scarier, the unsettling imagery and slow build to chaos make me want another movie by this director stat.

The movie still seems fresh in the way it respects both the art in ballet and the discipline it demands - even in childhood.

Honor Among Thieves is a useful reminder of something that’s been forgotten in the age of dense film universes and ultra-violent action films: Light-hearted adventure movies like “The Princess Bride” remain the perfect vehicle for humor, romance, fights and special effects. When done properly, as Dungeons & Dragons is, they give audiences a full-bodied experience that’s hard not to like.

[Refn] mixes jittery hand-held camerawork, improvised dialogue and available light to create a nightmarish world of sex, drugs and horrific brutality that will turn off many viewers while delighting others.

Best remembered as the most flamboyant of TV's original "Hollywood Squares" - which is really saying something on a panel that included Paul Lynde.

Charming to the max.

Though never dull and often visually beautiful, this work of operatic sweep doesn't fulfill its own ambitions.

Qualifies as perfect family entertainment.

But given the potentially gripping subject matter, the film is fatally underedited: Every scene feels too long.

Bittersweet and often funny but overlong.

For all its virtues, this is not a film to see on less than a good night's sleep.

Schmaltzy and endless.

Gripping, smart and moving, without falling prey to sentimentality, it shows what can be achieved when mainstream filmmakers like Howard and Goldsman are genuinely inspired and determined to be honest.

Slow West certainly lives up to its title: It’s one poky Western, plodding and perambulating and moseying across the 1870 frontier on a grim march to a pointless ending.

Pablo Larraín and Alfredo Castro - the director and star, respectively, of the acclaimed Chilean black comedy "Tony Manero" (2008) - reunite in the chilling Post Mortem.

This extremely well-acted dramatic farce of grief and betrayal actually has a resonance beyond its target demographic.

Midsommar is no slouch on chills, but they creep up slowly, like a bad trip from one of the Swedes’ festive glasses of hallucinogenic tea, and are leavened with an occasional dash of humor.

The sleepy horror movie is an onslaught of spooky images that, while well-done, are watered down by sheer abundance. We stop being scared after the first 15 minutes because there is nothing new to see.

One of the year's best.

Two dull people have a dull love affair in Summertime, a French drama that drags on like an August afternoon.

A little humor would have helped leaven a movie that is frankly often very difficult to watch.

So warm and well-meaning that you may find yourself wanting to like it more than you really do.

Sexploitation and art blend uneasily in Crazy Horse.

It's Gordon-Levitt's pitch-perfect work that makes Brick a hardboiled treat.

With a mischievous, metaphysical flourish, Doctor Strange administers some much-needed CPR to the flagging superhero genre. It doesn’t reinvent the wheel — a power-hungry villain (Mads Mikkelsen) tries to unleash hell on Earth, blah blah blah — but it’s a heck of a lot more fun than I’ve had at a Marvel movie lately.

Unlike Zack Snyder’s Justice League, there is nothing serious about The Suicide Squad. That’s a good thing.

The twists are executed superbly, right up to a climax that fits the David Mamet definition of what makes for a perfect ending: It is both surprising and inevitable.

The film has no ready answers, although it becomes abundantly clear that both those for and against charter schools are more concerned with covering their own asses than with helping students get a quality education.