Somewhat fleeter and more engaging than its predecessor.

A Single Man is like a big coffee table book on grief, loneliness, and loss - and mid-20th-century home design.

Not a great movie, but it's affectionate. It reveals the cuddly side of Mac.

A big, kabooming sequel that plays sleight-of-hand with its audience.

A gorgeous, gory epic, is a blow-your-mind masterpiece about the emperor who ruled more than 2,000 years ago.

Sunshine can be seen as a story about science and religion, about the rational mind and the mad. But at a certain point, like a dying star about to pop into eternal nothingness, the movie can't be seen as anything - it just implodes.

An accomplished feature debut with stunning cinematography (by Elliot Davis), a jambalaya story line and yet another heart-stopping performance by Scarlett Johansson.

The film doesn't hold together in any compelling way.

If Mockingjay - Part 1 was walkier and talkier than its forerunners, Part 2 is pretty much all action - and lesser for it.

This violently comic caper has some spunky charm going for it -- but has a lot of self-consciously hip, studied wackiness going against it.

Nasty stuff. It's xenophobic (message: Americans, steer clear of the Third World); it's photogenic (the Sports Illustrated-likeswimsuit issue beach scenes, the colorful villages, the lush landscapes); it's gruesome (operating table POV shots); and it's violent.

Nerve gives moviegoers everything they'd want from a teen romance. It's a little less successful as a critique of life in the age of Instagram.

There's not much to this movie beyond a slick procession of dark, gleaming violence. But Selene lovers would pay good 3D money to see her fight a parking ticket.

A tale of disaffection, devastation and epiphanies of the catastrophic kind.

Provide more than you ever wanted to know about the reigning kings of geekpop, but he (Priestly) does so without giving you much reason to care.

Best of all is Hoffman, who hasn't had this much obvious fun since he played Hollywood producer Stanley Motss in "Wag the Dog."

Either Campion is the most inspirational director of performers or Winslet the most carnal.

The cast is uniformly good. In the end, though, as Stiller's Stahl does the rounds of the talk shows, plugging his book and his newfound sobriety, Permanent Midnight fails to deliver a true story of redemption, of someone who has come through the dark side and conquered his demons. The guy is still feeling sorry for himself, and the residue of narcissism - the lifeblood of the entertainment industry - is caked all over the place. [18 Sep 1998, p.03]

An upbeat-if-shapeless Canadian comedy about two adorable young women, an artist and an aspiring writer, who fall in love at first sight. [26 Jul 1999, p.C06]

Chris Columbus' relatively faithful and intermittently affecting adaptation boasts the boisterous vitality of its performers, particularly Jesse L. Martin and Wilson Jermaine Heredia as lovers Tom and Angel.

Someone should check Joe Carnahan for performance enhancement drugs. Smokin' Aces, the wild ride of a movie he scripted and directed, is so pumped up, manic and mayhem-packed that it practically shoots sweat off the screen.

I don't think 50 First Dates is a great movie, or a particularly funny one, but I admired its romanticism and its gentle plea for the acceptance of difference. Of how many romantic comedies can you say they are sweet and disturbing?

Fragmented, dreamlike, a whir of memories and misery, We Need to Talk About Kevin is unsettling, but also somehow unnecessary.

Fails to bring Giger to life in any kind of illuminating way.

Anya Taylor-Joy, who delivered a heartrending breakout performance in "The Witch," is entrancing as this exotic being, Morgan.

The American public likes nothing better than a tragedy with a happy ending, William Dean Howells observed. But Marshall so cautiously downplays the tragic elements of his plot that the sweetness and light left a sour taste in my mouth.

Feels less like an epic drama about power and the power of love than an episode of a Masterpiece Theatre mini-series.

The film, which is amiable, undemanding family holiday entertainment, is more a tribute to the astonishing skills of the dog trainers than anything else.