The best part of the film, unsurprisingly, is William H. Macy's low-key portrayal of Bernie.

The movie often feels more like film noir than a war picture both in the way it is shot and in the manner in which the characters are handled.

A courtroom drama which is sufficiently different and thought-provoking that I can recommend it with a clear conscience.

Shelton took a chance with this film. Given a less talented performer, Cobb could have been an awkward, over-the-top melodrama. As it is, however, the movie works much as Mrs. Parker and the Vicious Circle does -- as an unobstructed view of human degradation and the damage it wreaks.

The length and uneven pacing are stumbling blocks with which an audience must contend. Patient viewers will be rewarded; others may wish for something with less subtlety and more verve.

Infectiously entertaining comedy.

There’s a lot here for kids to like and nearly as much to keep parents from fidgeting.

The Uninvited is a flawed production, but gratifying in the way it delivers. The interesting and unique elements of the movie effectively compensate for the formulaic way in which the plot develops.

Cruise is chillingly credible as the cold, cruel Vincent. And Foxx shows unexpected depth and humanity as Max, whose night encapsulates the cliché about being in the wrong place at the wrong time.

Day of the Soldado retains the edge-of-the-seat and nihilistic qualities of its predecessor, but there are shifts to the overall tone, which is neither as stark nor as ominous.

In fact, this is one of the best pure disaster movies ever made (not that it has much competition). Congratulations to director Mick Jackson for a job well done.

While these may not be the most unusual themes to fashion into a motion picture, Rudolph's atypical approach to the characters and their situations makes for an intriguing, if not always pleasant, movie.

Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.

If there's a serious disappointment, it's the villain. Ma-Ma, despite being played with over-the-top zest by Lena Headey, isn't a very impressive foil for the mighty Judge Dredd, even when she calls for "back-up."

Although imperfect, it's engaging, thought-provoking stuff.

Like in "Training Day" and "Malcolm X," where he portrayed less than perfect individuals, Washington rules the screen. His portrayal is one of many things that elevates this film to the level of being consistently entertaining and occasionally compelling.

Ends up being one of the end-year's best sources of pure entertainment. And for those who believe laughter is the best medicine, there's more than a bellyful or two to be found here.

It's a movie of moments, some of which are side-splittingly funny. Arguably, this is the most uproarious comedy that Allen has ever done.

A scathing satire of conspicuous consumption and a fashion-obsessed culture, Absolutely Fabulous - The Movie hits most of its targets and twists the knife but, as funny as the material sometimes is, the flimsy narrative and threadbare caricatures encounter difficulties trying to sustain a 90 minute motion picture.

Blink Twice is a deliciously nasty “refrigerator film” – a psychological thriller that holds viewers spellbound while in the theater (even if certain plot elements fall apart upon later reflection – say, for example, when getting a snack from the refrigerator later that night).

With Paul Feig in the director’s chair, this unapologetically sentimental film provides viewers with opportunities to laugh and cry while morphing into something a little different than what the trailers and marketing material suggest.

Ana is a vivid, vibrant individual and the movie's focus upon her makes it successful and accessible.

I recommend the movie both for Nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life, but rarely see on screen.

The Muppets is a rare family film likely to appeal more to parents than to their offspring.

Red Sparrow is a deliciously perverse, unflinchingly violent thriller – a modern-day espionage tale that breaks with the tradition of making the spy business the purview of suave and debonair characters.

It’s an elegant and highly unexpected offering from George Miller that allows him to step away from the Mad Max universe if only for one interlude.

Once the initial setup has been accomplished and the film kicks into high gear, it grabs the viewer's attention and holds it for the rest of the running time.

Designed primarily for those who are intrigued by theater, curious about Welles, or some combination of both.

A crowd-pleaser.

Solitary Man gives Douglas a chance to act, not merely posture or show off for the camera. It's some of the finest, least forced work he has done in years.

As simple and straightforward a movie as one is likely to find in theaters today.

Although the comic book tropes are all in place, the acting, tone, and visual effects keep them from becoming tedious. This is yet another solid building block in the foundation to Marvel’s ever-expanding superhero fortress.

Dark Passage is a must see for fans of Bogart/Bacall.

The strong final third counterbalances the weaknesses of the first half. I prefer films that build to something worthwhile rather than collapse short of the finish line.

The critical question for the movies' producers is whether Harry will be as popular now that his legions of stalwarts know how it all ends. The smart money would be on answering that question with a resounding "yes!"

This is a fascinating story of determination and survival that deserves to be told. It is ultimately uplifting but it's tough going to get to that point.

As the title character, Millie Bobbie Brown shines in a way she hasn’t in her non-"Stranger Things" appearances.

There’s something delicious about the way Hustlers delivers on its promise of glitz, sex, and raunchiness while delving far enough beneath the surface to subvert the genre.

Director Joseph Kosinski, despite being best known for handling the technical difficulties of "TRON: Legacy," shows the ability to push an audience’s buttons.

Hacksaw Ridge embraces many of the clichés of the war movie but, instead of laying them out in a rote fashion, the film synthesizes them into a visceral, ultimately inspirational result. This is about heroism, patriotism, and an adherence to convictions.

Meet the Robinsons is a fast paced, high energy offering; it passes by in a breeze and is enjoyable enough that I'm willing to forgive the two awful songs (one near the beginning, one near the end) and recommend it.

An agreeable, albeit uneven, experience. Parker should take note, however, that, in some things, size doesn't matter and bigger doesn't mean better.

Isn't the best coming-of-age story to hit the big screen, but it skirts new territory, and does so with a flare that earns it a recommendation.

For martial arts action fans, The Forbidden Kingdom may be the best fantasy story since the genre was opened to a wider audience by "Crouching Tiger, Hidden Dragon."

While this version of Les Miserables lacks the cleverness and contemporary spin evident in Claude Lelouch's brilliant 1995 re-interpretation, it is moving and effective in its own right, as a more "straightforward" adaptation.

Offers enough suspense to make it worth the price of admission.

The film has a nihilistic tone and its gallows humor may turn off more viewers than it seduces. Not since "Killer Joe" has a film exerted this mix of attraction and repulsion.

It is sweet and sentimental and embraces the fantasy (although it would have worked better without the treacly pop songs on the soundtrack).

Like Possessor, Infinity Pool is challenging and eclectic but it’s not one of those pretentious movies that’s weird for weirdness’ sake. The film piques the intellect and feeds the bloodlust while offering an experience that only a Cronenberg can deliver.

While Seven lacks the cleverness of the superior "Usual Suspects," it's strong enough to hold its own against most other thrillers.

No matter what your opinion is of the movie, you're unlikely to be bored.

The Perks of Being a Wallflower tweaks the formula just enough to remain fresh and offer something a little new. It's sad, funny, warm, and nostalgic - kind of like high school, really.

Ghost Protocol is big and brassy, doing many of the things its predecessors did but, in the words of Nigel Tufnel, turning them up to "11."

The Incredible Hulk is a more traditional superhero movie than its predecessor and should please those who want their not-so-jolly green giant served with helpings of action. This film provides less talk and more smashing.

Eventually, Seabiscuit settles into a nice rhythm, and, as it enters the stretch run, it exhibits all the necessary elements of a good sports movie. Like the horse it's named after, Seabiscuit has a lot of heart, and, in the end, that's what won me over.

No one steals scenes from Samuel L. Jackson when he’s in this mode. His entire modus operandi is to be the biggest, baddest motherf... (watch your mouth!) on the planet. Nevertheless, Regina Hall gives him a run for his money – something she does with a lot less screen time.

Cooper directs with a sure hand, never overextending himself, and Lady Gaga proves to be a natural performer (she’s more believable in the role than Barbra Streisand was 42 years ago). She and Cooper exhibit a strong, primal chemistry. The movie works because we believe in them and have a rooting interest in their star-crossed, doomed love affair.

Won’t win any awards for acting or writing but generates suspense when it needs to and tells an engrossing Tall Tale.

As with most political thrillers, The Ghost Writer emphasizes plot development and atmosphere over action. It's an "adult" thriller as opposed to one designed for viewers suffering from ADD.

Offers a more satisfying cinematic experience than "Oblivion."

The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.

The script is smart and sneaky - by never telling the audience more than is necessary, it develops a keen sense of suspense that persists until the gritty final reel.

Light, funny, and clever.

The obligatory jump-scares aren’t the best and the movie is at times frustratingly underlit, but those things don’t keep the suspense at bay. In the end, however, Wolf Man is a story of sacrifice and love.

Perhaps the best way to describe Booksmart, the assured directorial debut of actress Olivia Wilde, is John Hughes for the 21st century. Although Hughes never came close to the level of raunchiness on display here, when one peels back the layer of vulgarity and R-rated dialogue, the beating heart of an honest teen-oriented comedy can be found.

It takes a confident actor to accept a role like this and to perform it to flawless perfection.

Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.

Ultimately, when the end credits roll, we're left with the sense that Star Trek represents a good beginning. As a film tasked with getting all the characters together, re-booting a timeline, and finding a way to return a veteran actor to his beloved role, Star Trek works.

I applaud what Costner has given us with Horizon. This contains many of the things on my movie wish-list with its focus on an original story, diverse characters, and a classic cinematic approach. Problems aside, Costner has me hooked and I’ll be among the first in line to see Chapter 2 when it opens in August.

Kill the Messenger is compelling material but the recognition that the core of the narrative is based on true events gives it additional power.

Anyone who understands what The American offers should come away pleased with the final product.

Bright Star is a nice ode to the poet, the love of his life, and the period in which he lived.

Enjoyable and inviting.

Editing is increasingly a lost art and there are times when Triangle of Sadness might have been more effective had it been presented with greater economy. Stylistically, however, that’s Ostlund. We’ve seen it before and doubtlessly we’ll see it again. There’s enough here to make it worth enduring the length.

This is one instance in which the return of a horror icon has a greater purpose than the exploitation of a recognizable brand. Would that more genre films were as thoughtful and thought-provoking, mixing substance with splatter in a fashion that builds uneasiness on more than one level.

Although it would be fair to say there are “feel good” moments in the movie, the film as a whole seeks to dig a little deeper. It’s not as effective as the effervescently witty "500 Days of Summer," but there are times when it strives for a similar sensibility.

The House of Yes is what happens when a film takes the dysfunctional family melodrama to its farthest reaches. It's a bold, gutsy movie that's definitely not for everyone.

Although Killer Instinct is the better of the two parts, Public Enemy No. 1 is a worthy continuation, providing closure to a tale that was interrupted just as things were getting really interesting.

Joe is a masterpiece of special effects wizardry, looking more real than any giant primate ever to walk across the silver screen. By combining animatronics, computer-generated images, and a man in a costume, Mighty Joe Young creates a compelling illusion.

Perhaps the most compelling reason to see Sunshine Cleaning is the pairing of two of the best and most charismatic young actresses today.

The battle between Max and The Blaster in Beyond Thunderdome may be the best the series has to offer.

In short, by delivering the expected and doing so with style and intensity, it lands in the top tier of the nine Rocky universe movies, although falling short by a few titles from the pinnacle.

Feast of Love's greatest strength is that it's about people and involves universal emotions. It's not great art but it is enjoyable soap opera.

The best Star Trek stories are allegorical - in addition to telling an involving story, they're about something other than going into space and blowing up enemy ships. Insurrection continues that tradition.

The Color of Money plays better when not under the shadow of The Hustler, which is ultimately a better and more compelling tale.

The Old Guard blends the intelligence of a well-written dramatic sci-fi/fantasy tale with the action/adventure of a big budget motion picture.

To date, "The Insider" probably represents the most compelling whistleblower story to make it to the big screen and, although the subject matter is different, Official Secrets generates in the viewer the same sense of outrage.

The overall package, despite suffering from some third-act narrative problems, generally goes down easily and boasts a strong, lived-in performance by Shannon Purser (Barbara from the first season of Stranger Things).

Kekexili is about how human beings, when passionate about something, can put everything, including their lives, at risk for a cause.

This isn't a perfect motion picture but, in the midst of summer's vapid pursuit of spectacle, a movie that provides real heart and emotion is a rare find.

It's a calculated formula for success, and makes for entertaining viewing, but those expecting something with the spark of the first two pictures may be disappointed.

Although there are a few missteps, the movie boasts a deliciously dark tone that makes for compelling viewing.

One of those films that does many things right, and that places it among the year's best period pieces. It's a cut above the usual BBC costume drama.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

Although The Night of the Hunter offers many pleasures for students of film history, its ability to captivate a generation for which its qualities are so foreign is as much an indication of how degraded film literacy has become as a counterargument to the movie’s timelessness.

Hamnet ultimately feels like the sort of mid-budget literary drama that used to be commonplace from the late 1980s through the early 2000s but has since become rare. It proves a better fit for Zhao than the blockbuster ambitions of Eternals: the intimate scale and emotional concentration suit her strengths.

Overall, although this version of Speak No Evil doesn’t leave as deep or lasting an impact as its predecessor, it represents another in the seemingly-endless Blumhouse stable of low-budget films to warrant a recommendation for those who appreciate the genre.

It's a solid performance from Leonardo DiCaprio, who has grown into this sort of "gritty" role and is more believable after having been seen dancing on the dark side in "The Departed."