Some heightened plot lines in writer-director Jared Frieder’s film don’t land as well as the tender moments do. The romance is admirably never overplayed for sentiment.

Gibson sure knows how to shoot a sequence, but he also doesn't know when to stop with the blood, gore and maiming.

Sputnik Mania has a happy ending, thanks to German scientist Werner von Braun, who had been recruited for America after designing Nazi rockets that rained terror on England during World War II.

It's just that the script, which Ozon adapted from a play, is lightweight and better-suited to stage than screen.

It includes abundant sex and full-frontal nudity, not to titillate but because it's needed to convey the inner sexual turmoil the girls are going through.

A stylish look and a fair amount of hot and heavy sex (mostly hetero), and the final shootout is pretty nifty.

Best watched while doing a crossword or reading the paper.

Decent movie, same old Borat.

Pulls no punches - blood flows very freely (including the ear-cutting scene) and black humor abounds.

Thankfully, Tintin is Spielberg at his most playful and unpretentious.

Classy old-school horror, James Wan’s The Conjuring depends more on its excellent cast and atmospheric direction than cheap gimmicks to raise hairs on the back of your neck. Which it does, quite frequently.

Sarandon gets great support from a cast that includes J.K. Simmons as a laid-back retired cop who pursues Minnie, and Jason Ritter as the ex-boyfriend whom Minnie desperately plots to reunite with her daughter.

Hopkins' larger-than-life performance as the crusty and crafty Burt rivets your attention for two solid hours in this most entertaining labor of love.

Israeli director Nadav Lapid uses a well-worn concept — a lonely little boy is taken under a teacher’s wing — to create a slow, creepy movie.

Some advice: Don't even bother trying to figure out what's going on in Ghost in the Shell 2: Innocence -- just sit back and enjoy the lush, trippy visuals.

Fans of deadpan comic fantasy writers like Douglas Adams and Kurt Vonnegut are likely to be intrigued by this lively little packet of weird -- then dive like a dolphin into Keret's loopy story volumes.

The slow, methodical pace of Here will undoubtedly drive a few viewers crazy. But for those in tune with its quiet rhythms, it's worth the journey.

Very much a feminist Western — one painting a vivid picture of how difficult it was for even a strong and determined woman to survive in frontier days.

In this pretentious art-house downer version of "The Bad Seed," the only surprise is that the folks didn't ship the little monster off to the looney bin before he reached puberty.

A funny-but-tortured femme-fatale performance from Florence Pugh as Russian assassin Yelena Belova, brutal and tactile fights and a merciful lack of confusing backstory makes for the most enjoyable MCU entry in a while.

If you're going to make a documentary about Leonard Cohen, the singer-songwriter, you should have him perform some of his better-known melodies, like "Suzanne."

Let’s say you wanted to have another go at “Red Dawn” but you think more like Redford. Voilà: You’d have The East, a cockamamie valentine to eco-terrorism.

The house itself - which walks down the street in one impressive scene - is memorably voiced by Kathleen Turner.

While highly entertaining and sometimes inspired, Black Mass is more like Scorsese lite. In perhaps the most memorable sequence, Bulger sardonically tests a childhood friend (Joel Edgerton) for loyalty by teasing out a “secret” steak sauce in what’s basically a reworking/homage of Joe Pesci’s famous “I’m funny, how?” scene in “GoodFellas.”

The Wave, competent as it is, lacks the heart-rending power of the similar 2012 tsunami movie “The Impossible.”

Only sporadically entertaining.

Powerful, important and refreshingly straightforward documentary.

The result is a charming mix of Walter Mitty and "About Schmidt."