The movie has its share of flaws, but you can’t say Charlie Hunnam, who plays the lead, has no charisma, or the story lacks excitement.

Watching Richard Gere’s charm and sweetness, as he turns into a metaphor for the nobodies of the world who hock their souls to be somebodies, is something very special indeed.

I lost count but the word “family” is mentioned upwards of 50 times, many more times than it is in, say, Lilo & Stitch. Yes, it is way too much, like everything else in this aggressively over-the-top film, but at the same time, it just feels nice to be part of the group.

To quote the late, great Dorothy Parker, “What fresh hell is this?” I’m talking about Colossal, a delirious, moronic mess that landed with a thud at last year’s Toronto International Film Festival and now opens commercially, seven months later, with a head-scratching “Duh”.

Beautifully cast, intelligently written and a gorgeously assembled range of beautifully gauged emotions about movies and war, Their Finest is one of the best films of a still-young 2017.

One only wishes they would put their talent and intelligence to better use than a formulaic and manipulative tearjerker that is really nothing more than a woman’s picture from a man’s point of view.

Misguided and lethargic horror movie.

In the title role of the sometimes clever but mostly contrived Carrie Pilby, she (Bel Powley) taxes the boundaries of both.

In the end, it’s the animals who conquer the emotions and provide the suspense in The Zookeeper’s Wife.

Beautiful and challenging, Bokeh has a pristine look and chilling feel of its own that contributes enormously to the mood and tone of the whole film.

All Nighter is an alleged comedy that doesn’t know how to be funny. But at 80 minutes long, it does know how to be merciful.

Life is not a great film, but it has its thrills.

Directed with polish and restraint by Ritesh Batra, this is a gripping film that seizes your focus and never lets go. If this one fails to move you, then you don’t really care much about the power of movies.

Not a great film in the same vein as "Badlands" and "Pretty Poison," but a very good one that is well worth seeing.

Made and marketed for the sole purpose of shock and schlock. It succeeds as both, but the result seems psychologically bewildering and pointless.

I call it cinematic freebasing. It’s tired, repetitious, superficial, dreary and done to death before, by the same director, movie to movie and—forgive me for the unpardonable pun — song by song.

A charming, beautifully photographed modern fairy tale about love and gardening, This Beautiful Fantastic is worth seeing in spite of its dumb deterrent of a title.

Word to the wise: Start saving the vomit bags from your airplane flights. With movies like this, you’re gonna need them.

Boring, derivative, and infuriatingly illogical, Lavender is a ghost story with no thrills, no surprises, and no sense.

Despite the presence of Shirley MacLaine, the moments of pleasure provided by The Last Word are far outnumbered by scenes of exaggerated, phony, sugary marzipan-like make believe.

Logan is another heinous and sophomoric waste of Hugh Jackman ‘s time and considerable talent and another expensive throwaway aimed at milking money out of people who still read comic books. Color it stupid.

It’s a harrowing, sensitively realized study of cruelty, revenge and post-war retribution that ranks high among films about the cost of war and its continuing damage to humanity.

A long, incoherent German horror film called A Cure for Wellness is well on its way to late-night cable TV. If you’re a dedicated masochist looking for torture, look for it fast. It won’t live to see a re-release.

As a film, it’s uneven and clumsy, but as a responsible political statement about the chaos we live in now, it’s both enlightening and troubling.

It’s fifty times more boring than the first one. It is also fifty shades dumber.

The theme is nothing new, and the film has no shortage of clumsy biopic clichés, but sometimes we need to see the simplicity of humanity at its best. On that score, this movie delivers in spades.

The actors are superb. The nuanced writing and direction have insight. The three-dimensional portrayals of women in the rural South during the war are praiseworthy.

The terrific cast is well worth watching, but everything else about this wayward movie mistake leaves you feeling just awful.