There are moments that sparkle, but the whole is not a worthy sum of its parts, and, while much of what Moretti does is interesting, that doesn't mean that it's enjoyable.

With Honeydripper, Sayles has done what he always does: bring together a group of characters and allow us to relish their interaction. His affection for the characters is both obvious and infectious. We like them, warts and all.

Jamie Foxx, compelled to take the role for personal reasons, turns in what could arguable be the best performance of a varied career. (Others might say that the distinction belongs to his work in Ray.)

The characters are interesting and capture our sympathy and, although there are things to criticize about the final forty-five minutes, it brings the saga to a conclusion. There's a lot to like about The Place Beyond the Pines even if it isn't the feel-good movie of the spring.

Notting Hill does an adequate job, but this isn't one of those landmark romantic comedies that dozens of subsequent movies will seek to emulate.

This is one of the best of the subgenre, an action-packed movie that delivers adrenaline jolts with both barrels while not skimping on character development and wry humor.

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 Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.

Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.

Not much happens during the course of the movie but, as with all good dramas, the protagonists are richly drawn and the events of their lives become of interest.

At its best, Bon Voyage, Charlie Brown captures the flavor of the beloved comic strip gang but the stew is overcooked and things start to drag after a jaunty first half-hour or so. Overall, this is more for “Peanuts completists” than those looking to get a quick Charlie Brown fix.

In 2025, Superman feels a lot like many of the other superhero movies out there - fun, frisky, and forgettable.

It’s far less engaging than the recent "3:10 to Yuma" remake and concentrates more on the details than the broad picture.

Gruesomely engaging.

The Italian Job isn't a masterpiece, but it gets the job done.

Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it. Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it.

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

Too many comedies have become routine and predictable - qualities that don't enhance the potential for good laughs. Neighbors retains sufficient spontaneity to give it a fresh, lively feel.

This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.

The movie as a whole is a mixed bag. It's overlong and a times sluggish. The fights and battles, designed to give an epic fantasy feel to the movie, are grave miscalculations.

It’s a painless diversion – no more, no less – that gets an injection of energy from the lead actor’s willingness to not take himself too seriously.

Black Widow represents the MCU looking back when it should be moving forward. Everything about the movie seems small, even the big action set-pieces. No doubt fans – and when discussing Marvel, there are a huge number of those – will be delighted to see the mega-franchise returning to the big screen but it would be a fallacy to consider this anything but a low-tier entry.

At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.

A compelling piece of cinema.

Lovers of drama featuring quirky characters will find things to appreciate.

Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.

After the chaos of "Transformers: Revenge of the Fallen," it's refreshing to encounter a science fiction film that respects the intelligence and attention span of an adult.

There's a wit in Segel's writing that marks him as every bit Apatow's equal in this arena.

sStarts and finishes strong, but, somewhere in the middle, it loses its focus and its way.

There’s an energy here that has been sadly absent from too many recent Hollywood blockbusters. For 2022, The Way of Water may not be the most intricately made or intellectually rigorous motion picture, but it exemplifies what “cinematic” means today.

It is a dark, violent, sexually explicit motion picture that will surely offend timid viewers.

Frankly, Snow Angels is a downer. This isn't inherently a negative - after all, some of the cinema's most powerful motion pictures are downbeat. However, in this case, there's no emotional force behind all the gloom - just a sense that something's missing.

The Blackening is a flat-out satire from frame #1, and there’s nothing wrong with that. It’s a breath of fresh air in what has become a very stale multiplex atmosphere.

This is the most mature animated feature since "Rango."

Let's get this straight from the start: Slither isn't great art, but that doesn't mean it isn't good entertainment.

With its carefully-modulated combination of light comedy and drama, the film casts a gentle spell.

One possible misstep along the way is Willem Dafoe’s narration – it’s too wordy for the material and doesn’t quite work. Still, that’s a minor quibble about an otherwise dead-on portrait of a lost soul who may never quite find herself but who makes an uneasy peace with what the world has made of her.

The acting is top-notch. Colin Farrell, who seems to be gravitating increasingly toward smaller films, effectively channels his manic energy. He and Brendan Gleeson display chemistry in the Odd Couple vein, occasionally giving rise to instances of humor. Ralph Fiennes plays one of the most twisted roles of his career.

The story is engaging and McCary provokes an emotional response with his careful and nuanced handling of the main character’s mindset and situation.

Nocturnal Animals employs one of the most inventive uses of neo noir tropes and techniques I have seen in recent years. Intense, insightful, and strangely powerful, Tom Ford’s adaptation of Austin Wright’s novel, Tony and Susan, assumes an intelligent audience.

Nothing in T2 is memorable.

By the time September arrives, This is the End will probably be in the running for "funniest comedy of the 2013 summer."

Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.

The real problem with Fahrenheit 9/11 isn't that it attacks the current Republican administration, but that it does so clumsily and with poor focus.

It's not as crisply directed, and the plot holes are easier to find, but Die Hard 2 is filled with the same sense of good-natured, wisecracking fun that infused the original.

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.

Just because a movie is ambitious and challenging doesn't mean it can't also be tedious and at times unbearable.

With its rapid pace, smart screenplay, and top-notch acting, this is one of the 2007 Oscar season's most appealing and compelling adult motion pictures.

Those expecting an action film may be disappointed by what The Last Duel offers. While the climactic battle is rousing, suspenseful, and suitably brutal, the majority of the film is more about dialogue, perception, and character interaction.

The movie doesn't offer enough to make it interesting or even diverting.

An unevenly paced but ultimately winning romantic comedy, Juliet, Naked is the latest success based on a Hornby novel, joining "Brooklyn," "High Fidelity," "About a Boy," and "Fever Pitch."

Obviously not a movie for everyone, Man Bites Dog boasts graphic displays of murder and rape. There's very little of the human body -- inside or out -- that isn't shown at one time or another during the course of this movie. Nevertheless, if you do venture to see Man Bites Dog, you would have to be made out of stone to miss the visceral, sardonic impact of a highly-unusual film.

Typically, movies aimed at teenage audiences have little concern for things like intelligent scripts, credible characters, and meaningful dialogue. Better Luck Tomorrow contains all three, making it a hugely rewarding experience.

Darkly effective, and its grip lasts longer than we might be entirely comfortable with.

Compelling and life-affirming.

This is one of the director's mainstream efforts, although his penchant for the offbeat and oddly artistic has not been completely reined in. But there's plenty of unsparing, bone-crunching violence to dismiss the idea that Soderbergh is making an art film in disguise.

This isn’t just another “cancer movie.”

I don’t for a moment believe the film has widespread, mainstream appeal (hence the decision of Disney-owned Searchlight Pictures to bypass theatrical distribution in favor of a Hulu premiere) but for those who enjoy stews that mix warped comedy with twisted horror, it hits the spot.

Yet, even on those occasions when the screenplay falters, the actors are there to take up the slack.

Annette dares to be different and, at a time when so many movies feel like cookie-cutter representations of better past tellings, there’s more than a little virtue of taking an offbeat and oddball path, even if the detour is too long and has a few too many potholes.

Yes, A Late Quartet is disappointing. But it's also pretty bad.

This is a great two-hour motion picture. Unfortunately, it runs 20 minutes longer than that.

Simultaneously funny and touching with elements of pathos to go along with the raunchiness. However, The King of Staten Island runs too long and, as result, it loses steam while chugging toward the ending.

This is a deeply cynical movie and, in that cynicism, it finds truth.

It appears custom-made for a streaming service and will lose nothing from a home viewing. Regardless, with its smart and irreverent screenplay and trio of strong performances, the movie is a winner in whatever circumstances a viewer discovers it.

It’s an arthouse production made with arthouse audiences in mind but I found it to be a more compelling experience than the equally “important” (but entirely too safe) "Radioactive," which played in the same general historical era with less zest.

Most viewers will discover this picture - and it is worth discovering - when it is released on DVD.

It offers a solid two hours of pure, escapist entertainment.

It's a superior thriller made with the guts and gusto that too many recycled entries into the genre fail to exhibit.

Runaway Train belongs to a rare genre: the intelligent thriller.

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.

It’s crisply paced and, although there are times when Lady Chatterley’s Lover seems like little more than an intellectually-approved bodice-ripper, it’s an impressively mounted production that looks good and is emotionally true to the characters and their era.

As long as you go into Garden State with reasonable expectations, its capacity to disappoint will be limited.

Long Shot, a production that’s as much a fantasy in the political realm as in the romantic one, is a pleasant trifle that leaves behind a warm fuzzy feeling, which is all one can realistically ask of movie of this sort.

Some of the more serious (and non-homicidal) scenes recall "Prelude to a Kiss" (a gender-swapping movie in which Meg Ryan switches bodies with an old man).

Viewers who come for the spectacle will get their money's worth. Furious Seven is all about action, with some scenes being more inventive than others.

Like all B-movies, this one provides moments of visceral satisfaction while ignoring nuance and (at times) logic.

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.

This is a feel-good tale through-and-through yet, because of the aesthetic and setting, it doesn’t feel cloying and artificial. And, perhaps most importantly, it earns the modest ending.

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.

The plot runs out of steam just past the one-hour mark and the charade, although necessary to the story, goes on for too long. The ending is, of course, the requisite happy one, but it seems a little anticlimactic.

Volume 2 can claim to be bigger and better than its predecessor, although it still suffers from some of the narrative sleight-of-hand issues that kept Guardians of Galaxy from achieving greatness.

Watching The Life of Chuck, I was inspired to remember how wonderful it can be to find a movie that offers the thrill of discovery and the comfort of real emotions. That’s such a rare combination these days and when a film unlocks the secret, it deserves to be seen and lauded for the accomplishment.

Rosewater does not have blockbuster potential but it is more entertaining than one might expect from this material and it leaves an indelible impression about the Iranian justice system - something akin to the inmates running the asylum.

Stranger than Fiction is a wonderful cinematic experience - a welcome way to spend a chilly autumn evening.

Cairo Time is a valentine to Egypt.

This is a simple story of hope and triumph, of one girl with the drive to succeed defying the odds and following her dream. It's not an original tale -- movies like this abound -- but Nava's point-of-view is fresh.

It’s a no-holds-barred action-oriented epic that doesn’t much care if it makes sense as long as viewers are amped-up and engaged. When the end credits roar onto screen with a full-throated rendition of Lalo Schifrin’s iconic theme song, it’s hard to argue that a good time wasn’t had by all, even if that “time” lasts longer than necessary.

Black Panther: Wakanda Forever is an overlong blockbuster in search of an editor. It’s a series of impressive action sequences without a compelling narrative to connect them. It’s a frustrating example of how financial success, not creative impetus, drives the existence of sequels, and it illustrates how unwieldy, contradictory, and overstuffed the MCU has become.

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.

Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void.

The voice work is on-target - the child actors, none of whom have played these parts before and many of whom have limited professional experience, nail their characters. They sound just like we expect them to sound.

Ronin manages to remain focused on the plot and the characters, even while staging increasingly complicated pyrotechnic set pieces and offering its share of white-knuckle moments.

Solid family entertainment, and it's better than 2006's previous tepid animated releases.

It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.

Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.

Neither as effective nor as ambitious as Kubrick's masterpiece, but it's still a compelling cinematic experience for those who are willing to abandon themselves to the unforced, measured rhythms of an issues-based motion picture.

Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.