This is one of those films where the comedy prefers to accentuate characters’ deficiencies than pursue slapstick. Because of this, Buscemi, Palin, Tambor, and a deliciously pompous and over-the-top Jason Isaacs (as Field Marshal Zhukov) shine.

If someone was going to make a Hunger Games prequel, this is about the best one might hope for.

A fast-paced, entertaining motion picture that replaces gritty tension with a lightly-dramatic character interaction that occasionally borders on straight comedy.

Although not as good as the first Sisu—which made my 2022 Top 10 and has since become a cult favorite—Road to Revenge is a worthy follow-up.

While this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.

12 Strong represents a recent war as depicted on screen in an old-fashioned way.

As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.

With an unnecessarily protracted running length of more than 140 minutes, Rio Bravo at times moves too slowly for its own good but the climax is as rousing as that of any Western made during the decade when the genre was at its peak.

Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.

Manages to entertain, even though it stays on the surface. It fails to deliver the hoped-for knockout, but also avoids the pitfall of an early-round collapse. While not attaining the greatness of its subject, it rises to a level somewhere above mediocrity.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

There's a lot of fun to be had in watching The World's End and, surprisingly, more thematic depth than one might expect. The humor, true to its British roots, may baffle some Americans but those who "get" it will laugh quite a bit.

Brazil can be enjoyed without knowledge of the behind-the-scenes circumstances but the rich irony of the parallels between Gilliam and his fictional creation, Sam Lowry, add a layer of appreciation to the project that it otherwise lacks.

For what it is, Assault on Precinct 13 delivers. It's not great art, but, for B-movie fans and those looking for a mid-winter jolt of energy, it's good fun.

An enjoyable experience.

The Bourne Ultimatum provides a lot more suspense and tension than "Transformers" could hope for.

Den of Thieves delivers an above-average cops-and-robbers heist film.

Despite being overlong, Blackhat is mostly engaging. The narrative features one major change of direction and things get increasingly preposterous as the climax approaches, but that's not unusual in this genre.

In a curious way, Snatched is a little like an Amy Schumer stand-up routine: sometimes edgy, occasionally hilarious, and lessened by the bits that fall flat.

Gerwig transforms the ordinary screenplay into something that is by turns charming, touching, and funny.

Although the forced ending, which seems deigned to create an unnatural moment of triumph, weakens the climactic catharsis, it doesn't diminish the naked honesty which forms the foundation of Dolores Claiborne.

Most of Sing's creative energy was invested in the musical numbers and, fortunately, that's where it shines. But the film really can't go toe-to-toe with heavyweights "Zootopia," "Moana," "Dory" or even the little-seen but superior "Kubo."

As biographical crime thrillers go, Killer Instinct is a worthy entry to the genre, although the incompleteness of the story makes it difficult to evaluate on its own. The movie needs to be seen in the context of a greater whole for it to be fully appreciated.

On balance, it's a good movie but not a great one. Probably the only reason it's getting North American distribution is because of the involvement of Liam Neeson.

With Legend of the Sword, the filmmaker isn’t remaking or adapting anything. This is his version of Arthur’s origin story and, if nothing else, it’s kinetic and attention-grabbing.

It tells its own story and, unlike with "Thor 2" and "Iron Man 3," we don't feel the absence of the rest of the team.

The decision to partially reinvent what a Predator movie can be is what makes Badlands work. While it leans on familiar sci-fi tropes and doesn’t exactly revolutionize the genre, it feels fresher than the other sequels and far less beholden to the original.

The movie is consistently well-acted and features a gallery of characters so affable that it's difficult to actively dislike any of them, or, for that matter, the film as a whole.

There is a wealth of authenticity in the feel of the movie, as if Levine and/or his writer have endured some of this stuff.

A curious mix of the campy and the intelligent, of high concept and low psychology. In spite of these contradictions, or perhaps because of them, it works. This is a tense and engaging thriller.

Although A United Kingdom has a social agenda, it is first and foremost a love story. Like "Loving," it’s about how the affection between a man and a woman of different races affects not only their immediate social circles but has ripples that wash over the entire world and impact history.

It falls short of brilliant but it's a lot more daring than what passes for "dark comedy" these days, and it reminds us that "feel bad" comedies may not always be as funny as "feel good" ones but, when they work, they can ultimately be more satisfying.

To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.

For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.

Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before.

Into the Storm is as straightforward a disaster film as you're likely to find.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

The Adventures of Priscilla, Queen of the Desert is about the most fun you can have with three guys who like to dress up as women.

Lacking even a line of dialogue and using hand-drawn images, The Red Turtle is more about feel and look than narrative. The story is a means to convey illustrations and emotions.

A case can be made that the movie is so enamored with this aspect of its approach that it fails to connect on an emotional level. Shutter Island addresses some powerful, disturbing concepts but, despite effective performances by the leads, the movie's psychological impact is minimal.

Although there are times when the dialogue is downright insipid, it contains enough wit to provoke frequent chuckles (and maybe even a few guffaws – Andy Garcia has a laugh-out-loud one-liner) and the movie quadrupoles down on the romance element.

Spielberg has always shown a penchant for overt manipulation, but nowhere is this more obvious than in E.T., where he pulls out all the stops in an effort to bleed tears from the eyes of every audience member. It doesn't take a cynical nature to recognize what the director is doing. [2002 re-release]

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.

Like "The Apostle," it exists off the beaten path and will not satisfy mainstream viewers. Yet, for those who do not demand a firm adherence to formulas and genre-driven expectations, this movie offers the chance to see something a little different.

Produced during the pandemic and available on Netflix, the movie is well worth a look both as an exploration of love’s bitter aftermath and as an example of how art can bloom even in the most challenging circumstances.

What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.

Visually, X2 is a sight to behold, with impressive special effects and a dynamic sense of place.

Offers two hours of solid entertainment.

A harrowing experience for those to whom this sort of story appeals.

An ordinary story told well. Taken as a whole, there's little that's special about this tale -- it follows a traditional narrative path, leaves the audience with a warm, fuzzy feeling, and never really challenges or surprises us.

By employing nostalgia but not relying exclusively on its effects, the filmmakers are able to tell the story of how the program started with details that may surprise all but the most knowledgeable of fans.

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

Ultimately, the film’s tone is hopeful. That at least saves Thank You for Your Service from being a complete downer.

There's still quite a bit of the essence of "Dead Poets Society" in The Emperor's Club. Thankfully, however, the level of schmaltz and manipulation has been greatly reduced.

Against the backdrop represented by stark images of abandoned buildings and lost dreams, the tale that is City by the Sea emerges, with the power of the visual cues giving this film its forcefulness.

Beautifully photographed and tightly paced with a spate of solid performances, this latest Kipling-inspired motion picture is an enjoyable and exuberant film-going experience.

It’s the kind of movie one can watch and appreciate on both an emotional and intellectual level but without having to do much heavy lifting. It isn’t the director’s best work but nevertheless represents a worthy entry to his increasingly diverse filmography.

Offers everything a good movie of this sort should: plenty of suspenseful action, a few good laughs, and a share of obligatory "reluctant buddy" bonding.

Jack Ryan: Shadow Recruit provides the best motion picture adventure for the title character since his introduction in "The Hunt for Red October."

Even though Toy Story 4 sometimes feels like a regurgitation and retread of the earlier films, there’s something warm and comforting about spending 100 minutes in their company again.

Perhaps the best thing that can be said about Thor is that it doesn't feel like a cookie-cutter superhero comic book origin story.

Yet, although Stone has clearly made this motion picture with his tongue planted firmly in his cheek, he nevertheless manages to capture all of the tension and mystery necessary to hold the viewer's interest.

The film will almost certainly speak most strongly to those viewers whose age approximates those of the characters, but the narrative and performances are strong enough to involve anyone who gives this motion picture a chance.

There is enough depth in this picture to fill up several movies, yet The Wedding Banquet shortchanges none of its interwoven storylines. While I won't go so far as to say that this is a magical motion picture, it certainly serves as excellent entertainment on more than one level.

Most war films try to be epic in scope and intent. Lone Survivor opts for a smaller focus and succeeds on its own terms.

Imogen Poots and Zoe Saldana add their names to the project but, although they give solid turns, their roles are secondary. The star is relative newcomer 15-year old Madison Wolfe, whose performance is note-perfect.

Much of what's contained in Phantom is at best speculative and at worst completely made-up. But, regardless of the accuracy, it makes for compelling viewing. Phantom is one of the best films of a lousy early 2013 release roster.

Jose Padilha's Robocop reboot does some of the things a good remake should do: it retains the central ideas and themes of the original while updating and rearranging the narrative to lose a derivative feel.

Cast against type is Amy Adams. Normally tabbed for sweet and innocent roles, Adams here dons the persona of a confrontational bitch.

The cinematic horror genre, like the science fiction one, has been badly hamstrung by poor films, and several of the Nightmare on Elm Street entries have been at the forefront of the decline. Therefore, it's somewhat ironic that one of the most intelligent and creative efforts to come along in a while bears the Nightmare theme, title, and signature villain.

Air feels less like an Oscar contender (hence the April release) than something designed to provide a solid two hours of nostalgic entertainment. It features strong acting and a well-written screenplay and the tone is kept on the light side.

"Innovative" is not a legitimate description of The Fugitive, but "entertaining" is.

The Founder represents two hours well-spent, especially for anyone with a fascination for complex characters or an interest in the shenanigans that transformed an unpretentious local restaurant into a global force. You probably won’t ever again think of McDonald’s in quite the same way.

Pumpkin's two greatest strengths: the majority of the film is original and engaging, and Christina Ricci turns in another fine performance. This pair of assets alone is worth the price of admission.

Bottoms achieves what it sets out to do and, in the process, provides a multiplex-friendly indie movie with breakout potential.

May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.

There's something almost hypnotic about the way Hard Eight develops -- even in its slowest, most tedious moments, it keeps our attention.

Because it thumbs its nose at the puritanical morality of contemporary mainstream cinema, Honey Don't! feels destined for cult appreciation rather than broad appeal. It’s a diverting curiosity—something to tide us over while we wait for Joel and Ethan Coen to reunite.

This is made for art-house viewers who prefer films that go in strange and unexpected directions, where a failure at least offers thought-provoking elements that can function as conversation-starters.

Hellboy II is solid entertainment, but it's a shame such blemishes prevent it from achieving a higher level.

By blending facts, myths, and made-up material, Lemons weaves a strong, engaging tale but, at least on some level, there’s a sense of a missed opportunity to do something grander.

The core relationship is what makes the movie with this ill-advised title a well-advised choice.

Are you a Kevin Hart fan? Then drop everything and rush to see this movie. Are you not a Kevin Hart fan? Then move along, there’s nothing here to see…

As heist films go, Radford has crafted an engaging, if not especially memorable one, with Flawless.

Crazy Heart is the country music version of "The Wrestler": a grizzled veteran whose days in the spotlight are behind him struggles to keep going while seeing the world through a haze of regret and booze.

While Changing Lanes isn't a perfect movie, it's watchable and compelling, and works on more than one level.

With a cast of characters so large that Robert Altman would feel at home, Big Trouble manages to do a lot of clever little things and generate quite a few big laughs without wearing out its welcome.

As a documentary, this movie has the same problems as all of those in Moore's oeuvre; as a polemic or a visual op-ed piece, it's an effective piece of filmmaking.

It's the depiction of the love and sacrifice of a father for a son that makes Life is Beautiful worthwhile.

August: Osage County is all about the acting. That makes sense because the storyline doesn't offer much that could be considered new or remarkable.

At its best, this film echoes the creepiness and tension of "Alien." At its worst, it sinks into the pretentiousness that at times threatened to derail "Prometheus."

The period detail is impeccable and The Devil All the Time gets high marks for its establishment of time and place.

Woo is in fine form, employing every weapon in his considerable arsenal: slow motion shots, billowing clothing (scarves, loose jackets, the dresses on flamenco dancers), pigeons taking flight, lots of martial arts/WWF moves, and a fluid but constantly-moving camera.

The performances are universally strong - not that one would expect anything else considering the quality of the cast.

Williams nails it.

A fascinating time capsule: a combination of talking-head interviews, actual footage, and re-creations that evokes a kinder, gentler world and provides insight into one of the most audacious stunts of the 20th century.

Does not surpass Kevin Costner's "Open Range" for the title of Best Western of 2003, but it's a worthy effort and makes for an enjoyable (if slightly overlong) two-plus hours.