Tone is critical to a movie of this nature, and Fleischer gets it right.

So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.

Brooks' take on the ups and downs of modern romance and the unexpected turns it takes is smart, funny, and (above all) uncommon. It's not hard to recommend this on Valentine's Day or at any other time.

Téchiné's development of Alex and Marie is masterful; Auteuil and Deneuve keep our attention riveted to the screen whenever they're on. And, while the director doesn't succeed in plumbing the emotional depths reached by Ma Saison Préferée, there are elements of Thieves that touch us nearly as forcefully -- those moments just aren't as plentiful.

Manages to remain witty throughout.

Fascinating, garish, and compelling even with an overlong 130-odd minute running time, Benedetta dabbles in some of Verhoeven’s career-long weaknesses while highlighting a great many of his strengths.

Director Jon Favreau keeps the tone light but, aside from the occasional low-key gag or one-liner, the humor is never allowed to upstage the more serious elements.

Not everything in The Wackness works and there are times when the divergent serious/comedic tones clash instead of complementing each other. However, in spite of its flaws, the production gets us to care about the characters and their situations.

Sabrina is playfully seductive, and will leave almost all viewers, even those as cold as Linus, with a smile on their lips and a warm glow in their hearts. [Review of re-release]

The film's structure is a little awkward, almost certainly as a result of its being expanded from 20 minutes to 97.

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.

The core of honesty that distinguishes the production remains unchanged by time, ensuring that, no matter how many years have passed, About Last Night... still works on an emotional level.

There's something old-fashioned about Everlasting Moments. Although the shots are beautifully composed, they are classically represented. Both the filmmaking methods and the storytelling are uncomplicated.

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.

There's no doubting that Memoirs of a Geisha is a lush motion picture, and it has much to recommend it, but this will not go down as one of the great screen romances of the 2000s.

The humor - and there's enough of it that Tabloid could be categorized as a comedy - is unforced, arising as it does out of these truth-is-stranger-than-fiction circumstances.

It’s a perfectly enjoyable piece of movie-making and a treasure for those who want a better understanding of how old TV shows were made.

Lucy is what a superhero movie might look like if developed by Spike Jonze and/or Michael Gondry.

Contagion is the best movie made to date about an epidemic/pandemic.

X is a reminder that, while the slasher genre had some very deep valleys, some of the most effective horror emerged from it (especially in the early days before the films became little more than orgies of inventive eviscerations). With X, West seeks to recapture some of the fun, edginess, and energy of those productions while at the same time delivering a few surprises.

Crooklyn comes to the screen with an upbeat tone and a lot of heart. Beneath the surface of this deceptively simple motion picture lurks a keen insight.

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.

It’s a small gem that deserves to be discovered.

The humor avoids becoming too outrageous. This is like an indie version of Olivia Wilde’s "Booksmart," which was filmed after Banana Split despite being released earlier. Both films offer complex perspectives of high school-oriented female friendships without demanding a happy ending for the happy ending.

Where the Crawdads Sing is not without flaws but it draws the viewer into its specific time and place and offers an engaging two-hour escape into the life of a memorable individual.

With its idea of an insurgency striking against an implacable evil empire, there's more than a little "Star Wars" in Terminator: Savlation, although not even at its "Empire Strikes Back" bleakest was Lucas' series this dark.

The transformation undergone by Michelle Williams to play this role is nothing short of astounding.

Spielberg has invested massive creative capital into Ready Player One and the resulting production has all the ingredients viewers expect from potential blockbusters. Whether it achieves the level experienced by Spielberg’s biggest successes remains to be seen, but it is without a question one of the year’s most energetic, visually rewarding, and ultimately exhausting motion pictures.

The Truth is layered and offers a treat for those who savor acting on the highest level, but it is a step down from his best films and may hold its strongest appeal for those who label themselves cineastes and art house movie-lovers.

Take away the spectacle aspect and the movie may seem repetitive and underwritten. In a premium movie house, however, the immersion is so complete that viewers may require a short recovery period once it’s all over.

While Let Them All Talk doesn’t seem substantial enough to capture the attention of those who dole out awards at this time of the year, it’s not without interesting characters, smart dialogue, and some intriguing ideas about love, life, and art. And, as with almost everything directed by Soderbergh, there’s a compulsive watchability to the proceedings.

It’s the best performance of McCarthy’s career, topping the one she gave in "St. Vincent."

There are a few occasions when Antwone Fisher crosses the line to become too syrupy -- For the most part, however, the production radiates emotional honesty.

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

Without question, Extraction is the best action-oriented film released during the first third of 2020. One could argue that such a statement is damning with faint praise.

Focus is uncommonly good for a February release (damning with faint praise?) but may not clear the bar of being worthy of a trip through snow and ice to reach the multiplex. Star power, actor chemistry, and caper movie twists make for a nice diversion… but not much more.

Although there is violence and danger, this is less about the chase than it is about the relationship between the siblings.

Clever and atmospheric, the film has enough twists to keep the average viewer guessing.

Gorgeous photography and strong acting keep the formula from becoming stale. For those who don't mind pictures that fall into predictable rhythms, A Good Year represents a pleasant diversion.

Loving is an important and interesting motion picture but it’s not always as involving as it might have been.

Rust Creek, an uneven but ultimately satisfying thriller from indie director Jen McGowan, seamlessly blends horror and thriller elements across its 108-minute running time.

Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.

Gripping and compelling, and doesn't make us wish we had checked our brains at the theater entrance.

As a means to finally bring the Fantastic Four into the MCU, First Steps is as successful in its own way as Spider-Man: Homecoming was. In addition to representing an apology for the previous big-screen botching of Galactus, the film puts all the foundational pieces into place.

Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.

The film’s predictability is offset by what Hart and Cranston bring to the proceedings.

Freedom Writers delivers the expected messages about hope and the ability to change one's destiny, and does it in a manner that it is emotionally and intellectually satisfying.

Obvious technical considerations aside, it holds up surprisingly well after so many years and is not hard to recommend for anyone with an interest in film history and World War I.

Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.

Dustin Hoffman and Emma Thompson bring credibility to Last Chance Harvey merely by their presence. The result is a holiday parfait.

Hardly a moment of Matilda can be described as either juvenile or condescending, and, compared with many of this summer's so-called mature features, that makes for a delightfully refreshing change-of-pace.

Star Trek IV, while not a superior effort, is an effective and enjoyable sample of entertainment -- not good science fiction, but a lightweight piece of comic fantasy utilizing characters so familiar that they feel like old friends.

Mary Shelley's Frankenstein may not be the definitive version of the 1817 novel, and the director likely attempted more than is practical for a two-hour film, but overambition is preferable to the alternative, especially if it results - as in this case - in something more substantial than Hollywood's typical, fitfully entertaining fluff.

The teaser scene is phenomenal. It depicts the escalating tensions that accompany being one of the men in the final chain that leads to a nuclear launch. In this case, it's just a drill, but the men (played by Michael Madsen and John Spencer) don't know that. They must confront the morality of obeying an order that could lead to a worldwide holocaust. It's a taut scene that is suffused with verisimilitude.

This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.

The movie is deliciously creepy even if it does exhibit some issues that keep it from being a top-notch example of "things that go bump in the night" horror.

The film is worthwhile primarily for the fun, breezy first hour. After that, it's a case of watching to find out how things turn out.

Attempts to inject a little humor via the antics of the dwarves don't work, especially since one of the little people is killed early in the proceedings. No one's going to be singing "Hi ho! Hi ho! It's off to work we go!" after that happens.

There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.

Christian Bale continues to amaze with his ability and range.

My sense is that, while The Best of Enemies may be met by stinging criticism from the far left and far right (for different reasons), those with centrist leanings will appreciate it for what it is (as opposed to for what it isn’t).

With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.

The book is richer, but this is a solid, endearing telling of the same essential story, and is well worth the price of admission for those who appreciate romantic fantasy.

The result, although uneven, is generally enjoyable, especially for those who attend with the right mindset. Character and narrative are secondary concerns for a movie primarily driven to provide a Valentine to '60s rock-and-roll.

It's an entertaining diversion - a good way to pass a couple of hours as late summer evenings lengthen - but not much more.

Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.

There's little in the basic narrative to grasp and hold the viewer's attention, but the way the lines are delivered and the charisma of the performers lend charm and substance to the overall viewing experience.

This is what serious horror is like and it’s not for everyone.

It's hard to deny that Brüno succeeds in being both outrageous and outrageously funny, and it's hard to damn a comedy, regardless of its faults, for those qualities.

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.

The Quiet Man showcases [Wayne] as the leading man in an old fashioned romantic drama. Cast against type, Wayne pulls it off with aplomb, largely because his tremendous screen presence allows him to get away with gaffes that would sink other actors.

Despite its flaws, White is an excellent character study, and the presentation of a twisted love story is compelling.

The Loss of Sexual Innocence is not a masterpiece (at times, its obtuseness can seem ponderous and pretentious), it is nevertheless a fascinating experience, with the focus being on the artistic elements inherent in the medium rather than on the narrative.

Of the five movies in the Despicable Me/Minions cycle, The Rise of Gru is the second-best, following the debut installment. The series has long since given up finding new avenues to explore (the way the first one and, to a degree, the second one, did), relying instead of regurgitating ideas and comedic bits. It’s almost surprising, therefore, how effectively it works.

Story itself is richly rewarding and uplifting -– the coming-of-age tale of a girl who must defy the odds to achieve her goals. There's plenty of humor to keep the overall tone light.

This isn't a revolutionary or thematically rich motion picture, but it's a well-told story featuring solid performances and a nice sense of atmosphere.

The movie works because so much of what's on screen will resonate with viewers.

Woman in Gold is arguably of more interest for its historical perspective than for its drama. Although there is some suspense in the courtroom proceedings, no one would mistake this for the next "To Kill a Mockingbird" or "The Verdict."

Bernard and Huey is a small pleasure; it’s almost always welcome to watch a character-based film crafted without pretentions.

As a source of light pleasure and solid laughs, it delivers. This particular cookie may not fill the belly, but it goes down easy.

There's nothing deep or meaningful to be unearthed in this feel-good comedy, but it nevertheless makes for solid entertainment.

Regardless, though it may be occasionally slow-moving and perhaps a half-hour too long, this film is put together with care and a mindfulness of quality.

This is a comic amusement park ride – a wildly uneven movie that offers tremendous pleasure for the moment, even if it doesn't stand up well to post-screening analysis and scrutiny.

A heist movie in the classic tradition - it details every aspect of the caper, from its genesis to its aftermath. The fact that there's political intrigue and espionage swirling around the edges only makes it more fascinating.

The Theory of Flight is far from a perfect movie, but it offers enough highlights that, on balance, it's worth a recommendation. The solid acting camouflages a great many other deficiencies.

In the wasteland of August releases, this entry shines like a beacon lighting the way to a theater.

Talk to Me isn’t for the faint of heart. It isn’t for those who believe horror movies can easily be shaken off. And it isn’t for those who aren’t willing to pay attention and allow the film’s unsettling aesthetic to seep into one’s bones.

Unfortunately, the film's final third is poorly focused and, while there is a clear conclusion, it feels strangely hollow.

Despite some sluggish narrative passages and tonal inconsistencies, this represents one of the most exuberant and energetic productions to arrive in the post-pandemic era and its mixture of feel-good elements and real-world concerns is a welcome change from horror movies and action mayhem.

A viscerally effective, fast paced thriller.

Damn, is it good to watch a movie that expects the audience to pay attention and that doesn’t pander to the least common denominator.

For roughly two-thirds of its 100-minute running length, Barbarian is a top-notch excursion into the dark, twisty tunnels and catacombs of a mystery-cum-monster movie.

The humor gets raunchy enough to earn the "R" rating, but in some ways, it's pretty tame, especially in the wake of "The Hangover."

Anthropoid is engrossing but it isn’t happy. War movies, at least the best of them, seldom are.

Strictly speaking, it's not a top example of movie making, but it offers two hours of undeniably solid entertainment, and not too many viewers can argue with that.

Not only is it based on a fairly original premise, but the humor exhibits a distinct edge.

In style, if not substance, The Greatest Showman is reminiscent of the Disney film, "Newsies." Like the 1992 live-action musical, The Greatest Showman comes to life when the characters are singing or dancing but struggles through the sequences in between.

Anyone expecting a movie dominated by figure skating will be disappointed. The Cutting Edge concentrates on its characters, with the skating limited to a supporting role. This is not a movie for cynics, nor for those who don't occasionally like to sit back and enjoy an undemanding, "comfortable" film. For unadulterated fun, The Cutting Edge may not earn a gold medal, but it's worth at least a bronze.