There’s always room for another first-rate action thriller, and Plane breathlessly packs its punches in spades.

A grim, toxic, psychological British thriller, brimming with surprises, that always manages to be quite a bit more than it appears on the surface.

A brutal, chilling indictment of capitalist colonialism, The Settlers mixes shocking violence with acute apathy.

I can tell you only that this is a film unlike anything I've seen before-harrowing, haunting and sordid. Be forewarned, it is not for the squeamish. But take a chance and you will be rewarded with a work of nightmarish force that is unforgettable.

It’s too twisted and implausible to be everybody’s cup of tea, but it keeps you glued to the screen from beginning to end. Boredom and bathroom breaks are not an option.

What emerges is time pleasantly spent with a slice of life that examines a romantic détente between two cultures. Like smoke from an Egyptian hookah, the melancholia lingers.

We may never completely know the answers to all of Cavett’s questions, but Morgen’s film shows definitively that the sound and vision Bowie left behind, when writ large and loud on the silver screen, makes for an otherworldly journey of beauty, mystery, and transformation.

Nothing much revelatory here, but what makes the movie a keeper is the energy of director Ben Younger (Boiler Room) and the charisma of Miles Teller, the sensational young actor from "Whiplash," who invests the role of a prizefighter with the same intensity he brought to the role of an obsessively driven drummer in that film.

A saucy, twinkling star performance by Michael Keaton make this one of the must-see entertainments of the year.

Director Gina Prince-Bythewood delivers a solid and entertaining action-infused drama, digestible, unpretentious, and totally comfortable with itself.

Aesthetically—accompanied by Ludwig Göransson’s aggressively throbbing score—Tenet is the cinematic spectacle you’ve imagined...The plot, however, is where things start to falter. Tenet is as convoluted—if not more so—than Inception or Interstellar, and its tangled narrative occasionally fails to completely unknot itself (although that may be the point).

A well-directed thriller with knuckle-chewing suspense. A cast of unknowns give some first-rate performances, doing everything right to milk the throb of panic and anxiety from “what would I do?” situations. Terror builds from start to finish.

The most moving moments in Sully occur in a coda that introduces the actual passengers and crew who lived through the experience and Sully himself. No movie defines heroism with the same impact as reality itself.

As a movie, it lacks the unlimited manpower to equal Hacksaw Ridge, but as a dramatic postscript to the factors that led to Japanese surrender, its power and importance are undeniable.

Solitary Man comes on the heels of last year's "A Serious Man" and "A Single Man," so it's small wonder that confusion reigns. But this film, co-directed by David Levien and Brian Koppelman (who also wrote the screenplay), is the best of the three.

The footage is daring, dangerous filmmaking, and though it shows some of humanity’s lowest impulses, Bobi’s ultimate message of optimism for Uganda’s future shines through.

You see, instead of staging a character-driven dramatic thriller with zombies like the first film, Peninsula presents a world hit by a zombie outbreak that responds by turning into a ridiculous, cartoonish dystopia — and it is much better for it.

Writer-director Milius's brilliant directorial debut presents the Depression era gangster and 'Public Enemy Number One' John Dillinger (Warren Oates) as a social outsider and self-made legend. Oates is at the top of his form... Ben Johnson is equally good as his nemesis, FBI Agent Melvin Purvis, and Harry Dean Stanton and Richard Dreyfuss lead a fine supporting cast. [12 Oct 2003, p.9]

We Bought a Zoo has more soul than substance, but I'll be darned if it didn't put a smile on my face and keep it there.

The best kind of horror film, about innocent people plunged into mind-boggling circumstances beyond their control.

It’s a gripping addition to the canon of war on film that is definitely worthy of attention, and some of the images are electrifying.

That sense of history grabbing you by the throat was still there—it’s all but impossible to drain that quality out of any iteration of the plays in Wilson’s towering Pittsburgh Cycle—but the grip on your windpipe was not nearly as tight as it should be.

The Hunger Games: The Ballad of Songbirds & Snakes is long, which means that it sometimes lags, but its cast and the well-crafted visuals keep it as entertaining as possible.

A head-spinning, whirling dervish of an action movie.

Stan’s trip to the moon may fade into the ether, but his ride down the highway with his brothers and sisters, all of them unsecured on the flatbed of a pickup truck is so brimming with immediacy that it won’t even matter.

While the folks back at the Pentagon say stuff like “Where are our Navy Seals?” the audience is treated to jaw-dropping action sequences, enhanced by awesome special effects and staggering cinematography.

Angel of Mine is a much better meld of psychodrama and soap opera than it appears on the surface.