If not for the contrived resolution, this might have been one of the better little thrillers to emerge from the pandemic. Instead, it feels a little disappointing, if only for the unlikely “twist” applied during the closing moments.

The Book of Life represents Guillermo del Toro's most hands-on foray (to date) into the realm of family friendly entertainment; this is closer in tone and sensibility to one of Tim Burton's offbeat animated films than one of Pixar's more "vanilla" productions.

Cinderella is a wonderfully realized family feature that retains the strengths of its source material while at the same time updating it for today's audiences.

Parts of Ruby Sparks are glowing and gentle. Others are harsh. Still others are wrenching. The transitions are expertly handled, never seeming jarring or inappropriate. If the movie feels like two shorter pieces grafted at the middle, that's an intentional decision. The filmmakers give us something approaching a traditional romantic comedy before deconstructing it.

Although there’s admittedly some perverse entertainment value to be found in this soap-opera derived mystery, the movie never rises to the level of something gripping like "Gone Girl." It’s occasionally fun in a trashy sort of way, but nothing more.

Fiddler on the Roof is not a perfect motion picture - it is too long and there are times when it's obvious that the musical numbers have been pre-recorded then lip-synched - but it represents an enjoyable three hours.

Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.

There’s something enormously refreshing about the openness and honesty found in Keith Behrman’s coming-of-age film, Giant Little Ones.

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).

A fair amount of the film, especially Downey's solo sequences, appears to have been improvised, and this lends an air of unpredictability to the proceedings.

Like most sequels, it pacifies its core demographic by offering “more of the same.” To that extent, it can be said to be successful.

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.

World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."

Because Wonder wants to attract viewers of all ages and seeks to provide a “positive” experience, it glosses over the darker aspects that a story of this sort should address. In doing so, it at times feels dishonest and the Pollyanna-ish ending borders on cloying.

Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.

A firecracker of a story - sharply written, superbly acted, and fast-paced.

The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.

Has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.

Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.

The marriage of these two tales, however, should have ended in divorce court.

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.

Age of Ultron disappoints not because it's irredeemably bad but because it fails to achieve the level of its predecessor in nearly every facet.

Captain America falls into the prevalent pitfalls of origin stories. So much time and effort is expended explaining how the protagonist gains his super-powers (and exploring his initial usage of them) that there's not enough opportunity to develop a compelling storyline beyond his "baptism."

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

Not everything in City Island works - some of the secrets are obvious plot devices - but, in terms of feel-good, undemanding entertainment, this is as good as anything I have seen thus far in 2010.

Missing works well enough as a popcorn flick that doesn’t demand much in the way of concentration. That makes it a solid throw-way that offers a couple hours of forgettable entertainment.

Despite the weak dialogue, there are still some laughs to be had. At the end of this long journey, we're rooting for Harry and Erica to be together. For the movie to get us to that point, regardless of its motives and methods, it can't be all bad.

Voyeurism is a favorite pursuit of Americans, and The Girlfriend Experience works in large part because it indulges that pastime. The fascination with the film is that it offers an arm's-length opportunity to peer through a peephole into a lifestyle that will be exotic and alluring to most in the audience.

All-in-all, the intelligence of the approach combined with good old-fashioned zombie blood-and-gore (as opposed to the slicker, sicker torture porn variety) makes this not only the most satisfying motion picture Romero has made in a long while, but one of the best of his career.

The synergy between the root cause of the peoples’ unrest and some of what we see today will not be lost on many viewers; it gives Peterloo a sense of immediacy that some history-based films don’t have. I learned things while sitting in the audience and that’s a claim I rarely make about any motion picture circa 2019.

Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.

May be the best family movie of the 2002 summer film-going season. There's a simple reason for this - the picture seems to have been put together with the recognition that some members of the audience may be above the age of ten.

A compelling motion picture that illustrates an American tragedy and shows the transformation of a decent family man into someone whose struggles with addiction and association with the wrong man bring him to an untimely end, with no hope of retribution.

Dead Again does not come across as a Hitchcock knock-off, but as a motion picture that incorporates familiar themes and approaches while maintaining its own integrity and identity. Not once during the entire production is there an obviously stolen scene or camera angle replication.

By playing things too safe, it loses the power and spontaneity that gave Creed its energy and drive.

When it doesn’t work, it’s because it tries too hard to provoke laughter with clichéd jokes and subpar physical comedy.

The scenario explored by Ben is Back starts out strongly but, with writer/director Peter Hedges unwilling to remain firmly rooted within the hard, mundane rhythms of a family drama, it loses focus and borders on the preposterous as it races toward an improbable climax.

Tennant takes this familiar material and crafts a charming, captivating motion picture.

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.

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.

While parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.

In trying to blend a Twilight Zone-ish mystery with a more conventional approach to sorrow and death, Miele crafts a story that is too artificial to work.

Anderson’s performance is the selling point but one can rightly question whether it’s enough to bolster the malnourished narrative.

Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.

Sasquatch Sunset is sufficiently different that it’s almost worth seeing for that reason alone. Alas, I don’t think it sufficiently rises above the gimmick of its premise to provide a compelling reason to spend 90 minutes in a movie theater.

This is not a "nice" movie -- it deals with some pretty intense issues (like incest and suicide) -- but it is both bold and inventive, and works because of an unforced approach.

On balance, one could argue that Seven Psychopaths warrants a better rating than a mediocre **1/2, but the aftertaste is so bitter that it diminishes the sweetness that started off the meal.

The movie works in large part because of the depth of Steinfeld’s performance. We haven’t seen such a well-realized character in any of the other Transformers movies.

Not a typical Disney family film -- thank god. Charming and thought-provoking, this is the kind of movie with the sweetness necessary to appeal to younger (although not too young) viewers and the philosophical richness to draw in veteran movie-goers.

Gut-wrenching, brutal, and powerful, American Me is not enjoyable in the conventional sense, but nevertheless stands out as one of the year's most impressive purely dramatic offerings.

Although McHale’s theories are interesting to listen to, there’s a smoke-and-mirrors quality to them. One thing is certain, however: You Don’t Nomi is a much better motion picture than the movie it profiles.

The Midwife has two things going for it: Catherine Frot and Catherine Deneuve. There’s no disputing the quality of acting in this film, at least insofar as the leads are concerned. Unfortunately, almost everything else in Martin Provost’s staid character study falls considerably short of the bar set by the two Catherines.

Q & A is testimony to the validity of the old adage: a good story, when well told, can never be told too many times.

To the extent that The Trigger Effect is intended as a tense, somewhat nerve-wracking thriller, it's adequate, and certainly better than the formula-driven likes of The Hand that Rocks the Cradle.

With Steven Soderbergh at the helm, this has become a whimsical, semi-comedic romp, complete with a score by Marvin Hamlisch that recalls kitschy '70s TV shows, cutesy captions, and a tongue-and-cheek approach to the entire story.

Director Guillermo del Toro’s unique visual style is on display but the story is predictable, the characters are flat, and the supernatural elements are red herrings. To paraphrase a character, this isn’t so much a ghost story as it is a “story with ghosts.”

Cyrano is a disappointment. The set design and camera work are first rate, as are the performances of Dinklage and Bennett. It causes one to wonder whether, had the songs been excised in favor a straightforward telling, Cyrano might have played better. As it is, however, it’s merely a handsome looking period piece with too many mediocre songs and a major downer of an ending. Not exactly a great way to ring in a new year.

Contrasting The BFG to "E.T." does the new film a disservice, and it’s mediocre enough that it doesn’t need the comparison to emphasize its shortcomings. In recent years, Spielberg has become a hit-and-miss filmmaker and this is closer to a “miss” than a “hit.”

Superficiality is The Kid Who Would Be King’s greatest weakness. It skims along the surface, always taking the obvious path, never courting interesting possibilities, and trumpeting trite messages about friendship, truth, and belief in self.

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.

There’s an inevitability about The Danish Girl being well received by critics and at awards ceremonies. This is, after all, a movie with a strong social message about tolerance and inclusivity. Dramatically, however, it’s a mixed bag.

It maintains its cheekiness while poking fun at the overused concept of redemption. Most importantly, it stays funny up to the beginning of the end credits, and maybe a little beyond.

Gordon-Levitt wears three hats (director, writer, actor) and all of them fit.

Enjoyable enough that the sprinkles of artificial sweetness in the mix don't do lasting or irreparable damage.

There's plenty going on but never any real magic.

Its unique take on a common subject lends freshness to the familiar and provides a worthy motivation for seeing this.

Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

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.”

This is an offering for mature viewers thrown out amidst a sea of summer flotsam. The title, Elegy, is perfect for the material. There is much tragedy and truth in what the makers of this movie have brought to the screen.

Dark City has as stunning a visual texture as that of any movie that I've seen...Visually, this film isn't just impressive, it's a tour de force.

Director/co-writer Gillian Robespierre is nowhere near as self-indulgent as Noah Baumbach but she’s aiming for the same audience.

There's less whimsy to be found here than in "The Princess Bride," but the film is likely to appeal to the same group of older children and adults that appreciated Rob Reiner's classic.

You laugh a few times but, in the end, you wonder why you bothered.

The movie isn’t for those who crave light, uplifting entertainment. Instead, it’s for those who want a precise, visceral experience from a motion picture.

Strange Days is a thriller first and a mystery second. It's big, explosive entertainment and, although not directed by Cameron, is very much in the vein we've come to expect from him. Strange Days may not be the best movie to hit screens during the Fall, but it's likely to be the brashest.

The movie is entertaining on a superficial level, but there's little beneath the surface.

Carlito's Way probably should have been a taut thriller, but choices by DePalma in both presentation and editing have hamstrung it.

The Edge comes across as a parody/adventure without a clear sense of identity.

It's a thrill-a-minute ride that concludes with a whimper, like a roller-coaster that has all the drops and twists early. Make no mistake, this is a good source of early summer fun, but with a little extra imagination, it could have been a whole lot more.

While there are a lot of similarities between Rohmer's body of work and Baumbach's latest, the most crucial aspect linking the films is a difference: Rohmer's love of conversation and languorous pace engages the intellect; Baumbach provides a good alternative to an over-the-counter sleep aid.

The movie makes a variety of changes to Jeffrey’s story to make it more cinematic, but without the kind of narrative reworking needed to streamline the material, the result feels unfocused and shapeless.

This is a film for anyone who prefers to leave the theater smiling.

Scream is a rarity: a horror movie spoof that succeeds almost as well at provoking scares as laughs.

The best superhero movie since "The Dark Knight" (and far less serious in tone or approach), Kick-Ass earns its name in every way.

Not only was I touched by the characters and engrossed by their story during the 120 minutes they were on screen, but I could have easily spent another hour or two with them.

The limp climax doesn't undo the solid humor, wicked social commentary, and delicious satire that precedes it, but it leaves an unpleasant aftertaste. In the end, Mean Girls isn't mean enough.

As much heralded, "edgy" movies go, Transamerica fails to live up to expectations.

The story is timely and powerful, and the performances of Hanks and Washington assure that the characters will not immediately vanish into obscurity.

An engagingly lighthearted rags-to-riches romp with a David vs. Goliath element, the movie uses its real-life basis to formulate a modern day fairy tale.

Visually, The Good Dinosaur boasts some of the most amazingly photo-realistic sets I have seen in any animated film.

The two best words to describe the 2006 motion picture Miami Vice are "stylish" and "intense."

Master is something of a mixed bag but and, for those hoping to find the next Get Out, the search must go on.

There are things to like about the second Hobbit film - the director's vision of Middle Earth is as beguiling as ever - but the bloating that was a problem with An Unexpected Journey is an even bigger issue here.

For me, this is as deflating a movie as I have seen all year. Not the worst, to be sure, but a project so utterly unnecessary that it made me want to gnash my teeth in frustration.

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.

This one delivers.

The movie is jovial without being silly; it retains the sense of adventure that characterizes the Western, but replaces the often somber mood with one that is airy and, at times, almost comedic.

By limiting the film’s time frame, the narrative is allowed to breathe and, as a result, we get a distinct snapshot not only of the main character but of the setting that resulted in his becoming historically important.