With a cast like this, one has a right to expect something amazing, so the fact that We Own the Night is merely "entertaining" might cause disappointment in some quarters.

As a satire and an off-the-wall comedy, Bubba Ho-Tep hits the bullseye. As a horror movie, it's less successful. Maybe we're too busy laughing to be scared.

Black Sea contains its share of fantastical elements and the ending in particular evidences gaping holes of logic and physics but, as a "refrigerator film," it works well.

The film is more than a little odd but it has fun with its offbeat premise and moves along breezily until it gets bogged down in the third act.

A Girl Like Her offers an emotionally honest examination of an important and often overlooked societal problem.

A dark satire that skewers privilege and eviscerates the famous, the wealthy, and professional critics (gulp), this film from prolific TV director Mark Mylod takes no prisoners.

Unfortunately, the running time is too short for us to get to know, or care about, the characters in a way that would make the film's themes strike a responsive chord.

The stunning Lisa Ray, a Bollywood exile, makes one of the most beautiful widows ever to grace the screen. Vidula Javalgekar gives a memorable turn as the infirm "Auntie." But the real find is Sarala, a Sri Lankan girl who memorized dialogue in a language she does not understand and delivers it with conviction.

This is a pure popcorn movie -- the kind of film one can unabashedly enjoy for what it is. There's plenty of visual flash and dizzying action, but not at the expense of the other qualities that make for a complete motion picture experience.

The Wave’s centerpiece is a critical ten-minute span between when the rockslide occurs and the wave reaches civilization. Played out in real time, this is a period of sustained and effective tension. It’s real, raw, and ragged.

A classic example of a pedestrian motion picture being lifted out of mediocrity by an arresting lead performance. Zooey Deschanel doesn't just elevate Winter Passing; she carries it.

Charlotte's Web has all the requisite elements that a family film needs to succeed and endure: humor, drama, pathos, and an emotionally satisfying ending.

It's not a great film, but it succeeds in being both tender and cathartic.

Inventing the Abbotts has the cast and characters to be something special; the script just isn't ambitious enough.

My admiration for I Am Love is higher than my appreciation, and its appeal will be limited to an exclusive audience.

Offers nothing more spectacular than a character study. And, although The Good Girl's protagonist may be trapped by routine, that's one claim that can never be made about the movie.

While there's quite a bit more graphic bloodshed and brutality here than in any of the late screen icon's vehicles, Payback is a worthy '90s successor to his kind of movie.

War Horse's primary attraction is not the story of how it makes us feel but its impressive re-creation of the Great War's battlefields and some stunningly beautiful camerawork by cinematographer Janusz Kaminski.

It requires only four words to describe Earth: glorious photography, annoying narration.

Overall, this is a well-acted peek back in history to an era when scientific and engineering techniques currently taken for granted were in their pioneering stages, impelled forward by humanity’s insatiable desire to explore and conquer new vistas.

Babygirl is perhaps not as gloriously, guiltily entertaining as some of the films Reijn used as models but it offers its own pleasures.

As it's unspooling on screen, the film is hugely entertaining, but there are several significant plot holes that grow wider the more closely they're investigated.

The high production values, excellent acting, and strong writing make this a cut above what is often accorded this sort of release pattern. For those intrigued by the material, it’s worth seeking out.

Blinded by the Light is a one-third Bruce Springsteen hagiography, one-third kitschy ‘80s recreation, and one-third feel-good father/son coming together. Surprisingly, however, it works.

Del Toro's filmmaking instincts are solid and he makes this an engaging 150-minute journey, but when it was over, I never felt I had truly explored something fresh, and that was a mild disappointment.

Moments of light comedy keeps the tone from becoming too heavy without sabotaging the movie's dramatic underpinning.

Not great Disney but good enough to engage viewers young and old.

Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.

After starting with a lackluster introduction and a by-the-numbers heist sequence, the film concludes with an upbeat and appealing final act that recalls "Big Night."

The result is solidly entertaining - not quite as good as "Horton Hears a Who" or "How the Grinch Stole Christmas" - but unquestionably better than "The Cat in the Hat."

Oddly, the filmmaker best known for his Valentines to New York, Woody Allen, is not participant.

The Green Knight has its share of flaws but there’s a freshness to Lowery’s approach that demands to be noticed.

For those who enjoy Anderson’s patented quirkiness, The Phoenician Scheme doesn’t disappoint. Assembled with the abettance of longtime friend and collaborator Roman Coppola, Anderson has almost completely dispensed with a conventional storyline in service of a movie that delights in parodying seemingly anything and everything.

Though there are some narrative hiccups, its emotional core elevates it beyond mere cringeworthy gore.

One of those rare films whose historical impact outweighs its quality. It's a good film, but not a classic. Yet, although little more than a socially conscious, well executed science fiction adventure film, Planet of the Apes arrived in theaters at just the right time to capture the country's imagination.

Cavalcade's anti-war message is presented with more subtlety than that in Wings and All Quiet on the Western Front. The story is more concerned with the potential of death than it is with actual tragedy - how those left behind live in a constant state of anxiety, never knowing if their loved one is going to appear on a casualty list.

There are times when the film is flat-out silly (such as the spinning car assassination), but that's part of the movie's charm. At its worst, Wanted is never boring. At its best, it can be damn close to intoxicating. One word, written without apology, describes it best: fun.

Keeping in mind the limitations imposed on the production by the running time, All the Old Knives offers a compelling (if ultimately unremarkable) spy movie that tilts more toward a drama than a conventional action/thriller.

Although there are some structural and pacing issues, the film as a whole works by doing David Lynch’s favorite trick: finding the rot underlying the seemingly placid exterior of small town America.

The extreme nature of the gore isn't beside the point - it is the point. Raimi goes so far over the top in presenting these displays that they take on a campy, almost humorous appearance. It's impossible to take all this blood seriously. So, instead of being sickened, we're strangely amused - and this is all intentional.

It's pure comic book/popcorn action. If that's your kind of movie, it's hard to go wrong with this one.

Hall Pass isn't by any means flawless, but its ability to integrate extreme scatological humor with moments of genuine feeling is rare.

Whedon has made the Bard accessible and that achievement places him alongside Branagh in the exclusive club of directors who can handle both superheroes and Shakespeare effectively.

As feel-good as any sports movie you're likely to find. It's a solid choice for family viewing, but is equally worthy of viewing by solo adults.

This movie has a driving plotline that "Ray" lacked - a love story. To me, that's what elevates this film.

Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.

The acting is superb across-the-board, with the three younger performers deserving accolades.

It retains the occasional power to mesmerize and amaze.

The Spanish Prisoner is for anyone who likes to think and feel along with the characters.

It's simple and well-told, although nothing about it is breathtakingly original.

A highly satirical work, albeit without the "in your face" style of "South Park."

There are no big-name stars. Barbara Serafian, who is excellent, has a thin, eclectic resume. She looks a little like Frances McDormand.

Away We Go is not as dramatically wrenching as "Revolutionary Road," but it's unquestionably more enjoyable.

The Dirty Dozen flows nicely, keeping things moving and drawing the audience along in its rapid current

Caught Stealing gives [Aronofsky] the right canvas, and he delivers with enough style to lift the film above the B-movie neo-noir roots of its screenplay.

Unchallenging but easy to like. There's not enough here to capture the interest of those indifferent to romantic comedies, but fans - even of the casual variety - will find this to be a pleasant mid-summer diversion.

Tonally, Hope Springs is closer to Alexander Payne than Meyers although Frankel does his best to keep things from turning too dark.

The compelling and interesting aspect of Lucky You is not so much the compulsion that drives the main character but the way in which he interacts with those around him. The movie isn't a downer, but neither does it end with all loose ends nicely tied off. In this case, redemption does not equate with salvation.

Mortal Engines, the movie adaptation of Philip Reeve’s YA novel, represents one of the most impressive examples of “world building” in recent years, surpassing such contenders as Valerian, Cloud Atlas, and even the recent Star Wars episodes.

The acting, especially by the male leads, is superlative.

In order to appreciate The Ruins, one has to be a die-hard fan of horror or bloody thrillers. Those in that category will discover that The Ruins delivers the goods.

There are also plenty of background sight gags that often go unnoticed on a first viewing.

For romance junkies, the film checks all the boxes. For those who want a little more, it comes complete with a smart script, likeable leads, and a willingness to occasionally tweak a trope or two. My only complaint about Plus One is that the ending feels a little rushed.

This is a fun, funny trifle that deserves to be enjoyed on its own terms – a throwback that only feels old when that serves its purposes.

From an acting standpoint, Blake Lively makes a compelling case that she doesn't have what it takes to play this sort of a role; she lacks the chops to carry the elements of the movie in which she is expected to dominate.

The Hundred-Foot Journey represents a pleasant diversion for those who have grown weary of traditional summer movie fare. The picture is about people and how they interact. There are no explosions or car chases.

The film's climax is nothing short of hilarious. And Death at a Funeral doesn't discriminate when it comes to the type of humor it embraces it. Everything is in there, from physical hijinks to verbal repartee to naked man jokes to drugs and gross-out stuff.

Nickel Boys has a lot to recommend it, but there’s a sense that the experience could have been more devastating had the filmmakers simply let it play out rather than using it as an opportunity for directorial flourishes and experimentation.

Yes, the ending is weak, and there are aspects of the story that don't stand up to scrutiny, but this is the kind of effectively-crafted, well-acted motion picture that rises above its faults to earn its "classic" appellation.

On balance, however, there are more things to like about Daybreakers than to dislike. The production is loaded with impressive touches, some more nuanced than others.

Prometheus is the antithesis of the "big, dumb summer movie." Its visuals and special effects can stand toe-to-toe with any of the season's spectacles, but are audiences ready for something with an intelligent, thought-provoking screenplay where the action is secondary? Prometheus is flawed, but stupidity cannot be numbered among its missteps.

The film uses effective acting, deft dialogue, and a sly wit to entertain, if not educate.

John Wick is a rousing action thriller of the sort rarely encountered in theaters these days. The once popular genre, which was headlined by the likes of Stallone and Schwarzenegger during its heyday, has been a dying breed during the past two decades.

As a melding of new techniques and technology with old-fashioned methods of storytelling, it's an opportunity for the Magic Kingdom to remind audiences that, when it comes to putting fairy tales on screen, they remain on a higher level.

Lee's primary objective is to reflect back and offer a uniquely personal perspective of that single day last October. This viewpoint, which ultimately transcends the movie's flaws, is one of the aspects that makes for a worthwhile two hours.

When focusing on the micro-verse inside a news van and the four passengers taking the trip, Civil War does a good job dissecting the damage done by a desensitization to violence. But it botches the background and features an ending that belongs in another movie (preferably one featuring Gerard Butler).

In this motion picture, Oliver Stone presents his vision of the forces that drove and motivated the late President. And, factual or not, there's no denying that Nixon has moments when it is nothing short of compelling.

Works on its own terms, which is more than can be said of most horror films these days. If this is the kind of movie you're looking for, it delivers.

This isn’t just another “cancer movie.”

The 2014 iteration isn't as good as its 1974 predecessor but it offers its share of small pleasures, not the least of which is the crisp, sharp dialogue that never loses its punch even when it veers close to the edge of pretentiousness.

This is post-apocalyptic adventure as imagined for a teen crowd, and what it lacks in depth it makes up for in action. With a slight running time of 80 minutes, 9 doesn't contain an ounce of fat on its animated bones.

The film has more charm than the average romantic comedy, but, when considered from a bare-bones perspective, it follows most of the rules that define the genre.

For the first time in three films, Roger Moore starts to unearth a personality for Bond.

Will work better for younger viewers than older ones. There's not much plot to absorb and there's plenty of action, so this is the kind of spectacle that will appeal to those without long attention spans.

It features a pair of well-developed characters, the plot contains some clever twists and turns, the dialogue is reasonable, and director Gary Fleder (Things to Do in Denver When You're Dead) keeps the level of tension and intrigue high. Put together, all of that adds up to a worthwhile motion picture.

Cuteness is the watchword here. The dark, eerie atmosphere that oozed from every frame of "The Empire Strikes Back" is gone. Instead, for Return of the Jedi, we have good triumphing decisively over evil, a too-pat resolution to a love triangle, and walking teddy bears.

Although perhaps a little too long and not as tightly plotted as Rogue Nation, Fallout offers everything a viewer could reasonably expect from a Mission: Impossible production. It’s reliable.

Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.

Although ultimately a triumphant story, this biography doesn't see its subject through rose-colored glasses. It takes chances, and that's why it works.

Odd, playful, and sweet. It equates the boiling point of water for hot chocolate with the height of passion. With occasional surrealistic fantasy sequences interspersed between the commonplace goings-on of regular lives, the film weaves a subtle spell of enchantment -- until a disappointing conclusion.

My expectation is that Harry Brown will find its strongest adherents among those who remember Caine in The Ipcress File and Get Carter and are fascinated to explore his take on how that sort of character might have aged.

Despite its deliberate pacing, it moves quickly, in large part because of the extraordinary way that Kubrick builds and deepens the sense of dread. Even seemingly normal and innocent moments - such as Danny tooling around the corridors of the hotel on his Big Wheel (with the sound of the wheels echoing on hard wood and muffled on carpet) - are overshadowed by an encroaching sense of the ominous. Technically, The Shining may be one of the most perfect motion pictures I have seen. It's too bad that the same level of excellence doesn't extend to the performances and screenplay. The Shining is well worth experiencing, but it does not rank as a member of Kubrick's top echelon of cinematic achievements.

The Nest is an autopsy of the disintegration of the middle-class dream and its impact on those for whom it becomes a nightmare. It’s a rumination about the fragility of happiness. It’s a modern-day horror film with a spooky mansion, a body that refuses to stay buried, and demons that haunt not the benighted halls of the house but the unsettled corridors of the psyche.

Thus far, the 2021-22 roster of Disney/Marvel post-pandemic titles has struggled to advance the series beyond Thanos in a meaningful fashion. Although it’s questionable whether Thor: Love and Thunder changes that, it has a helluva lot of fun trying.

Anyone who enjoys well-executed romances will find a lot to like about this film, but it lacks the strength of originality evident in those movies that inhabit the genre's top echelon.

While this curious clash between a near-modern setting and the much older source material might seem confounding, it actually serves to energize the play, as well as making it more palatable to present-day audiences.

This more lenient attitude toward the original 1998 film has allowed director Niki Caro to be less reverent in her approach. The result is satisfyingly fresh. 2020’s Mulan follows the same general trajectory as its predecessor but numerous changes – some small, some large – have given it a unique identity.

It's a little along the same lines as "Ocean's 11" in what it achieves and, like that film, there's plenty of Oscar power among the actors - a combined 15 nominations, to be precise.