Despite flouting Hollywood clichés, it nevertheless manages to be both romantic and funny even though it starts with the separation of the main couple.

Director Kevin Macdonald has fashioned a film that is at times nearly as harrowing as his previous endeavor, "Touching the Void."

Russell is the reason to go to the theater. He will continue to hold your attention when things around him -– like the storyline -– lose steam and credibility.

Almost paradoxically, 2010 may be unnecessary, but it is nevertheless a worthwhile effort.

For those who appreciate the genre, this is a better-than-average merging of technical craftsmanship, narrative coherence, and competent acting.

Woo, who is known and appreciated for his unique stylistic approach to violence and bloodshed, creates a kinetic ballet of bullets and explosions that drives the adrenaline level through the roof.

The strength of the cast assembled by Australian-born director John Hillcoat is eye-opening.

This is the sequel Halloween fans have been awaiting for four decades. With John Carpenter whispering in his ear (the original director returned in an “advisory” capacity and as co-composer), David Gordon Green has taken the series back to its roots.

It's not as endearing as "Moonrise Kingdom" but not as tedious as "The Darjeeling Limited." It offers an engaging 90+ minutes of unconventional, comedy-tinged adventure that references numerous classic movies while developing a style and narrative approach all its own.

Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.

Reese Witherspoon's unglamorous, understated supporting work recalls the kinds of films she made before becoming a movie star. Other recognizable faces include Sam Shepard, Joe Don Baker, Michael Shannon, and Sarah Paulson.

It’s a well-made, serious drama arriving in an era when those qualities rarely describe multiplex fare.

A celebration of Mr. Rogers and the healing capabilities of his words and doctrine, the movie may not be a splashy as many of the year-end multiplex stocking stuffers but the experience it offers tugs effectively at the heart strings.

Mission: Impossible Dead Reckoning Part One is an oversized, big budget popcorn flick, with all the positives and negatives one associates with that sort of glorious but ephemeral brand of filmmaking.

Empire of the Sun remains a solidly engaging story of heroism in the face of adversity, as filtered through the eyes of a boy obsessed with planes and flight.

Even though it is rather obviously trading on a familiar and beloved brand, Wonka is nevertheless a fun and imaginative family film – certainly better than one might expect from a production crassly viewed by some as a “cash grab.”

Jungle Cruise runs about 15 minutes too long (what else is new these days when 2 hours has become the new 90 minutes?) but mostly offers a fun, breezy journey. It may not be another Pirates of the Caribbean but it exists as a reminder that inspiration can come from unusual places.

Jim Henson's creations have always appealed on more than one level, offering adorable playmates and positive messages to children and surprisingly sophisticated humor to adults. MUPPET TREASURE ISLAND, the fifth big screen feature to star Kermit the Frog and friends, and the second directed by Brian Henson, delivers exactly what fans -- young and old -- expect.

The surprisingly intimate result is enjoyable in the moment but the mental footprint fades rather quickly.

An atmospheric period-piece murder mystery, The Limehouse Golem combines elements of Sherlock Holmes and Jack the Ripper into a Victorian-era gothic stew that, although perhaps not as ultimately satisfying as it might have been, nevertheless provides for an unsettling two hours.

The slow, uneven beginning is more than compensated for by the rousing climax.

Call Me by Your Name, the latest film from Italian director Luca Guadagnino, is a study in mood and emotion. It’s about living in the moment and capturing that moment. It’s about using the canvas of film to convey to the audience the inner feelings of the characters. Call Me by Your Name is short on dialogue and long on emoting.

As a dramatic thriller, it does what it needs to do to keep the audience involved and interested, even if some of its most theatrical tricks and twists are more the products of a writer’s invention than actual Washington D.C. activities.

These are fascinating, three-dimensional individuals brought into the foreground by a pair of today's finest actors.

The result is an entertainingly sudsy trip through early 16th century English history.

How to Train Your Dragon represents solid family entertainment even if it feels like it’s tracing over an existing pattern rather than developing something new.

El Cid is about as self-important as a motion picture can be. Regardless, there are still moments of breathtaking, almost transcendant splendor, when the film makers attain the grand aspirations they strive for.

The film functions as a time machine to take the viewer back to when (s)he watched “Mr. Rogers’ Neighborhood” on television and re-introduces the man who functioned as a friend/mentor/father-figure.

It’s an attempt to wed philosophical science fiction concepts with bloody horror - a dubious endeavor that somehow works. The movie doesn’t seek to be a mindless gore-fest but neither does it show restraint when it comes to violence.

Uses drawn images to peer into the dark corners of teenage life: bullying, self-loathing, and depression.

Gruesomely engaging.

I wanted to love Sinners more than I did but the energy level is so infectious that it’s impossible not to get swept up and pulled in. It’s a sloppy concoction that carves out a new niche for vampires not unlike what Let the Right One In achieved.

As it currently stands, Kill Bill is a victim of its director's ego and its distributor's greed. The moments of greatness make it worth seeing, and there's certainly plenty of entertainment to be found here, but it's hard not to lament what might have been.

It's not a stretch to say the movie works in large part because of the charm and sparkle of the three leads: Ewan McGregor, Emily Blunt, and Kristin Scott Thomas.

An accomplished film that uses dark humor to leaven its serious topics.

It is for a particular audience - those who like films that concentrate on character rather than plot, and who aren't put off by subtitles.

Despite being saddled with bad prosthetics and a ridiculous wig, Diesel displays more acting ability than in the testosterone-soaked genre where he has carved out a niche.

There's nothing special, shocking, or precedent-setting about the film, but it functions on a level that 007 fans will appreciate - as eye and ear candy for those who prefer action to exposition and character development.

Double Lover may not represent Ozon in peak form but it’s too weirdly entertaining to dismiss out-of-hand.

If there's a drawback, it's that the plot is trite. Hero is an exemplary example of visual poetry. The narrative is clearly of secondary concern.

While it’s easy to quibble about the choices of omission and inclusion made by screenwriter Tracey Scott Wilson and whether a more adventurous, unconventional approach might have been a better fit for the central character’s personality, Hudson renders such criticism moot. Her performance as Aretha Franklin is more than worth the price of admission.

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

An infectious mix of romance, mystery, and magic.

Despite the many laughs Love and Death offers, it never takes cheap shots. It has a vibrant, beating heart - and that makes the comedy all the more worthwhile.

Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.

There's something to be said for the power of a classic, even if it has been given an imperfect makeover.

Holofcener has an ear for dialogue, and, as is often the case with the best character- centered films, a chief pleasure is simply enjoying what the participants have to say to one another.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

The biggest weakness of the novel is characterization, and the same flaw is fully evident in the screen adaptation.

For two-thirds of its running length, Zack and Miri is vintage Smith - profane humor that knows no boundaries and obeys no rules. What's most amazing about Smith's barrage of hard-R jokes isn't the range of subjects he covers, but how few of them "miss."

Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.

It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.

The supercharged CGI effects are fine and the battles are eye-popping, but the character interactions make No Way Home work.

It’s breezy and fun and, like its predecessor, relies more for its appeal on nostalgia and familiarity than a strong narrative thrust.

Will Smith gives his all in a role that requires him to undergo a subtle physical transformation, adopt a credible Nigerian accent, and provide a controlled, modulated performance.

A lively, crowd-pleasing story with heart to go along with the glitter and glitz, it’s better than a lot of what’s currently available.

Abetted by a strong lead performance from actress Felicity Jones, the film stands as a monument to gender equality at a time when that subject has become a hot-button issue due to the upheaval associated with the “#metoo” movement.

The story is quirky and offbeat but the dialogue and acting set Joy up as an engaging late-year repast.

With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.

A bloody fairy tale with no moral and a lot of juice.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

The Paper is a crowd pleaser, and, regardless of any viewer's experience (or lack thereof) with the behind-the-scenes wrangling that goes on in newspaper offices, the story is affable and entertaining. While there are no startling revelations, the film's atmosphere contains enough strength of realism that more than one viewer may momentarily think of the goings-on at The Sun as they sit down with their morning cup of coffee and look at the day's headlines.

The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.

A fun-but-uninspired swords-and-sorcery story.

Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.

The result, for those who can overcome the substantial “suspension of disbelief” hurdle, is engrossing and unsettling. As ridiculous as the premise might sound, the film is not easily forgotten. It lingers.

Admittedly, Mother has a weak beginning and ending, but the material in between is what makes it worth watching. This probably isn't the funniest or most inventive comedy of the year, but it gets high marks in both categories.

Liberal Arts is a parfait - a light, enjoyable concoction that goes down easily but doesn't linger. The movie is great "in the moment" but may be difficult to recall with any specificity after time has elapsed.

Only time and Matrix Revolutions will determine if the material contained here is just a noisy, visually lively distraction or whether there are deeper currents we're not yet aware of.

Because of the dominance of the central figure and the way in which The Cruise has been assembled, it functions more as a character study than a travelogue, and that makes for an engaging time in a darkened theater.

While not stunningly original, is fresh and compelling enough to hold the viewer's attention through its entire running length.

So jam-packed with self-referential humor, pop culture cameos, and nods to some of the greatest moments in animation, that it's almost impossible not to like it.

The movie carries a mild PG rating but may be too intense for younger children.

The short running length is a benefit because it means that Mile 22 doesn’t stick around long enough to wear out its welcome – a too-often evident problem in films of this sort.

Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.

A solid motion picture with a universal message and occasional splashes of genius, but it is remarkable only as Holly Hunter's performance is concerned.

Highlighted by an awards-worthy performance by Saoirse Ronan and structured around a light, witty script by Gerwig, the movie delivers a well-targeted snapshot of a year-in-the-life of an ordinary high school senior.

Taken as a whole, Shallow Grave is a reasonably enjoyable (for those captivated by this sort of thing) black comedy/noir thriller that justifies at least a portion of the praise being heaped upon it from overseas.

While Cheryl's journey is interesting, it isn't as compelling as the one embarked upon by Christopher McCandless (Into the Wild). The most arresting aspect of Wild isn't Cheryl's perambulation along the 1000-mile long Pacific Crest Trail but the memories that percolate to the surface as flashbacks.

Brian and Charles is a pleasant diversion, offering a few hearty chuckles along the way to an uplifting ending.

The film doesn't have much of a narrative, and the ending is a little too mystical, but there's still plenty here to engage the attention of all but the most restless of movie-goers.

The film is too energetic, too jaw-droppingly campy, and too silly not to be enjoyed and celebrated on some level. "Cheesy" doesn't even begin to describe it, yet that's at the heart of its perverse charm. Now, that's entertainment!

Summer Hours attracted two of France's acting luminaries, and their presence elevates the material. Charles Berling has the central role; the movie is largely told from his perspective. Juliette Binoche, with blonde hair, has a secondary part.

The New World is beautiful and lyrical and, except for the ill-advised voiceovers, a treat for more than one of the senses.

Gary Oldman’s portrayal of Churchill is among the best to reach the screen. With the help of makeup, Oldman immerses himself so deeply in the role that the actor disappears.

Those who don’t appreciate films built on the simple foundation of two characters (mostly) talking for the entire running length aren’t going to enjoy what Good Luck to You, Leo Grande is selling, even if sex underlies nearly every passage of dialogue. The movie is funny at times and touching at others but it’s never especially erotic (nor is it intended to be).

It celebrates art, hope, and dreams, and you don't have to like hip-hop to appreciate the message or the way in which it is delivered.

The vision of director Alex Proyas lifts this film above its sad history.

There's something beautiful about a well-made tragic love story. It may not be as uplifting as one with a happy ending, but it's more cathartic.

Happenstance represents an intriguing meditation on the unseen forces that no one can escape.

As common as the plot might be, the manner in which the film approaches at the subject is decidedly different. Leslie Harris brings a gritty perspective to this story that illustrates it isn't just boys who suffer in the hood.

Never pretends to be something that it isn't. Oh, there are costumes, to be sure, but that's just to facilitate the setting of the 18th century. Anyone who mistakes this for a costume drama is not aware of what kind of film they have ventured into.

The strength of Push is its relentlessness. The movie doesn't pause for anything and, when it provides exposition, it does so without bringing the action to a grinding halt.

When it comes to The Raid: Redemption, there are no pretentions. Pure and simple, this is about violence. As we used to say, "kickin' ass and takin' names."

It is difficult to deny Nell's intelligence and sensitivity. We approach this story with the same fascination that Nell faces each day, seeing, if only for a short time, how different the world -- and people -- can be.

For the most part, Safety Not Guaranteed is a pleasant viewing experience, but there is a flaw. While Darius is bonding with Kenneth, Jeff is reconnecting with his past. This subplot goes nowhere.

Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.

Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.