In the movies, romantic love conquers all. In reality, it's a little different, and that's what Gray is trying to show.

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.

The intelligence and subtlety of The Rainmaker took me by surprise. I don't know if this is because the novel is better than any of the prolific lawyer-turned-author's previous efforts, or if Francis Ford Coppola has performed a near-miracle in transforming the written pages into a screenplay.

Hostage has suspense and momentum.

This isn’t "Miami Vice." In fact, the intent (perhaps intentional) is for the gritty, noir-tinged The Infiltrator to tilt in the opposite direction.

Detroit, despite its flaws, is compelling and deeply unsettling. Its thriller and horror elements gain resonance because, at least to some degree, they’re based on real events.

The movie is pleasingly vulgar and, although there's no nudity, the whole thing is about sex.

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

I'm sure mainstream audiences will be baffled, but, for those with at least a minimal appreciation of Woolf and Clarissa Dalloway, The Hours represents two of those well spent.

For those with any interest in 18th and 19th century seafaring or naval warfare, this is a must-see motion picture. For others, it's an enlightening and entertaining experience.

In order to appreciate I'll Sleep When I'm Dead, you have to be willing to absorb unhurried film noir, and to accept that the film's version of "closure" is a little frustrating.

By the time the two hour running length has expired, it's safe to say that Real Steel comes across as a legitimate crowd-pleaser.

It starts out small and reaches its crescendo 90 minutes later with an incredible sequence that generates more suspense from a series of text messages than I would have dreamed possible.

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.

All of Alpert’s hits are present and accounted for and there are also a few lesser-known tracks.

For something like Horrible Bosses to sparkle, the actors have to shine... and shine they do.

The film is not riotous, but it is sporadically amusing.

Harsh Times occasionally echoes "Taxi Driver," Ayer's own "Training Day," and even "First Blood" in the way it examines the psychological disintegration of a character and the seduction of amorality.

Searching for Bobby Fischer is an intensely fascinating movie capable of involving those who are ignorant about chess as well as those who love it. The focus of the film is less on the actual game than it is on the people, emotions, and pressures surrounding Josh. It is a tale of human trials and triumph, not a sports movie that panders to a certain segment of the population. Chess may not be the most exciting activity to watch, but Searching for Bobby Fischer makes for engaging entertainment.

A gripping, tautly-paced action flick that outdoes most of Hollywood's similar output. This is clear evidence that film quality often has little to do with a production's budget.

Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

trong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great."

The screenplay is quirky enough to resemble an unfinished Coen Brothers narrative but mainstream enough to appeal to a broad audience.

It doesn’t offer a story of any surprising depth or emotional strength. It’s straightforward which isn’t necessarily a bad thing but the limitations of this telling of Colette’s life is defined by a familiar quality.

Guy Ritchie’s name not withstanding, there’s little here with strong mass appeal – not enough mind-numbing action; too much dwelling on a recent, tragic, failed war; and a muted catharsis. It’s also one of the best things Ritchie has done since his early years (only Lock, Stock is unequivocally better) and deserves a viewing when MGM brings it to streaming.

The Daytrippers is at its best using parody to paint an incisively humorous picture of a modern American family. We see here just how dysfunctional the typical nuclear family can be, and that "family values" aren't always the solution. Even though The Daytrippers is played primarily for laughs, there's a lot of truth lurking beneath the comic exterior.

It’s not conventionally frightening nor does it offer a cavalcade of artificially crafted jump-scares, relying instead on a deeper, more primal form of terror built on a foundation of slow-burn tension and a surfeit of atmosphere.

While "quirky" is a good descriptor for the production, Lars and the Real Girl isn't so bizarre that mainstream movie goers will reject it. This is an offbeat independent production that could become one of those big little fall surprises.

The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.

The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.

Famuyiwa dabbles in the teen sex comedy, the urban gangster story, and the fish out of water scenario. He gives us suspense, gross-out humor, a cute romance, and a sermon about the status of race in America.

The grandeur of Big Sky Country, captured with majesty and elegance by cinematographer Giles Nuttgens’ lenses, provides the backdrop for an intimate story of tragedy and reconnection that is no less riveting than the terrain where it transpires.

It's an enjoyable and unpretentious perspective of life that reminds us how important and rewarding the little things can be.

The film tells a compelling story with many of the elements that audiences find appealing. However, 65 years later, there’s little about From Here to Eternity to differentiate it from other well-made productions of its era.

The Bone Temple doesn't work entirely well as a stand-alone, but as part of a larger whole, it is a very good continuation of the ongoing tale. It leaves me hoping for a successful box office run so we can see how the whole thing ends.

To be sure, A Little Princess has a few missteps. For one thing, Miss Minchin could have been played with less villainy, but younger viewers will probably appreciate the one-dimensional nastiness. There are also a few moments of overt sweetness, but these are easily forgiven. Actually, there's very little this movie has to apologize for -- it's the rare kind of picture that can be enjoyed by viewers of eight, eighteen, and eighty.

So what’s the final verdict? A mixed bag. It’s a good start to a new trilogy but hardly the hoped-for masterpiece. It’s a solid space opera spectacle with enough nostalgia to overpower even the most hard-hearted child of the ‘70s and ‘80s but it relies a little too much on recycling old plot elements.

Having funny lines and amusing gags is only half the battle. The rest is in the delivery, and that's where the trio of Martin, Latifah, and Levy excel.

If there's an argument against the film (and, admittedly, it's not much of an argument), it's that the movie may not be suitably childish to appeal to younger viewers.

This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.

Although I didn’t find the film particularly noteworthy, I enjoyed visiting Paris in the late 1950s and appreciated the behind-the-scenes tour. Like many hangout films, it’s simply enjoyable to spend time with the characters, even if nothing momentous occurs (depending on one’s definition of whether the making of a classic movie qualifies as “momentous”).

Tonally, it’s closer to the Adam West television program than to any of the subsequent incarnations, although (if possible) The Lego Batman Movie takes itself even less seriously.

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.

Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.

This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.

There's enough drama here to fill two hours. Whether or not that happens, Rupert Murray's account represents fascinating viewing, and the richness of the subject matter more than makes up for the crudeness of some of the visual elements.

The movie is more about the events that resulted in Felt becoming Deep Throat than his work in that role. Although not the definitive Watergate movie, it illustrates an aspect of the scandal that to this point has not been given ample attention by filmmakers.

De Laurentiis' Kong may not be a grand, glorious modernization of a classic tale, but it's two-plus hours of big-scale, occasionally-foolish entertainment.

Along the way, there are moments of pathos and light humor but Last Flag Flying only occasionally ventures into melodrama or silliness, and those instances are easily forgiven.

The film isn't deep or thematically rich or filled with amazing characters. Instead, it's an excursion into song and dance, and works admirably on that level.

One of Bogart’s best acting performances. It shows his range – although having normally played an “alpha” character, here he is easily manipulated by the strong-willed Rose.

A compulsively watchable thriller that represents a calling card for the Ramsay brothers for the movie industry.

There's nothing quite like watching Samuel L. Jackson and Bernie Mac performing at a hoedown and getting into it with the audience.

The passage of years have shown Out of Africa to be a nice, pleasant (if padded) motion picture that's long on visual and audio poetry and short on substance. It tells a grand love story in less-than-grand fashion but is nevertheless worth seeing because of all the other things it does right.

Colossal is 2/3 of a great movie and 1/3 of a mess. Writer/director Nacho Vigalondo is tremendous when it comes to setup and the majority of his narrative but he can’t stick the ending.

The movie never loses sight of its twin objectives: maintain suspense and emphasize a message about the enduring, pernicious power of racism.

Although unintentional, Puzzle is what its name implies. Despite an Oscar-caliber performance from Kelly Macdonald, the film is hampered by sluggish pacing and a sterile mood that sucks the life out of various emotionally-charged situations.

Kenneth Branagh’s new, workmanlike interpretation of the tale will be met with different reactions from those who are familiar with the ending and those who aren’t. It makes a big difference.

The movie worked for me both as a commentary on the electoral process and as a slightly overcooked thriller.

Joe Versus the Volcano is difficult to review because some parts are fresh, inventive, and entertaining, while others are near-misses or even complete failures. On balance, however, I readily admit liking this movie, although the second half pales in comparison to the first.

It's as existential as a sci-fi/horror film can possibly be. It requires that the viewer slip into a meditative mood and remain there for more than 90 minutes.

Jane Eyre is good enough to provide lovers of classic literature with a reason to venture to theaters without being subjected to a salacious or demeaning adaptation.

Frears isn’t just telling a pleasant story about an unusual friendship; he’s asking us to take a look at whether we have advanced as far in 120 years as we believe we have. The question lingers after the movie is over.

For a story like this, there’s something about a purely animated approach that can’t be replicated in a live-action repetition. Nevertheless, as an alternate telling with a more mature point-of-view and a greater focus on narrative over music, Rob Marshall’s The Little Mermaid leaves its mark and Halle Bailey’s Ariel can stand alongside Jodi Benson’s.

The most notable element of screenwriter Dan Gilroy's debut feature is the performance he elicits from Jake Gyllenhaal. In the tradition of Brando, Bale, Theron, and others, Gyllenhaal undergoes a radical physical transformation to play the part of Louis Bloom.

A lighthearted, good-natured motion picture that contains enough humor to leaven the tone and keep the drama from becoming too serious.

Although the ending is generic and needlessly protracted, the production as a whole is suspenseful – full of diabolical little twists as it ventures deep into an uncomfortable territory using the trail blazed by "Misery."

Although Logan Lucky works as a heist film, it neither amazes with its narrative contortions nor keeps the audience waiting with baited breath for the unveiling of some big twist.

This is a smart, adult romance that rarely panders to clichés, and gives up the heady bliss of most such movies in favor of something bittersweet.

Magic Mike takes itself seriously - not so seriously that there isn't room for a little humor, but this is not an excursion into cheesiness and gratuitous nudity.

Its video-on-demand availability makes Anti Matter easily accessible and it will reward those who seek it out.

A taut, effectively paced mystery-thriller with a powerful emotional component

The movie is loud, fun, quick moving, and features some nice acting turns.

As a family film, Fly Away Home has something for members of every temperament and age group: adventure, pathos, technical detail about the design of the aircraft, cute animals, and human drama.

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.

Calling this version of Dawn of the Dead a remake is applying a misnomer. It's more of a re-imagination.

For me, The Hitman’s Bodyguard is the epitome of what a summer movie should be. There’s sufficient spectacle to satisfy the “wow!” factor, some hammy performances by actors in their wheelhouses, a half-dozen solid laughs, and a script that, if not likely to be called “clever” or “smart”, doesn’t demand a frontal lobotomy to be enjoyed.

The movie is punctuated by comedy that at times verges on slapstick but there's an underlying anger in evidence - anger at the popular mindset that allows movies like "Transformers" to flourish while artistic endeavors fail.

The film's adult leads, Naomi Watts and Ewan McGregor, give powerful, natural performances.

Heartfelt but safe. The missing element is the edgy irrelevance that elevated Crowe's best directorial efforts - "Say Anything," "Jerry Maguire," and "Almost Famous" - above their generic counterparts.

Avengers: Endgame isn’t as brash, surprising, or relentless as its predecessor but it’s a worthy conclusion to the Infinity War duology and provides a satisfying end to the First Avengers Era.

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

Halloween Kills is one of the better sequels (put it alongside Halloween 4 and H20 and a shade below the 2018 production) and contains all the elements to make it popular among horror film lovers regardless of their ages.

Gemma Bovery, which is based on a graphic novel by Posy Simmonds, possesses a deliciously sense of wit and irony.

There’s nothing momentous about The Wife but it functions equally effectively as a character-based drama and an allegorical statement about the power dynamic between men and women in pre-21st century marriages.

The vibe, if not the specifics, is highly reminiscent of "The Last Starfighter," "Battlestar Galactica," "Battle Beyond the Stars," and others. The fact that the movie's "present" is defined as being 1988 and the soundtrack is peppered with '70s tunes cements the retro feeling.

Alex is certainly worth spending a couple of hours with, even if the slow pace is better modulated for a night in than a night out.

From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.

The variation keeps things fresh and the relatively short running length (less than 90 minutes) ensures that Borat doesn't overstay its welcome - even though when it's all done, we wish this absurd man might have lingered a little longer.

Barbarians starts out as a tense psychological thriller unfolding against the tableau of a not-so-friendly dinner before morphing into something decidedly physical and creepy.

The movie contains the same dry humor that infused the John Wick films. Although the action is in earnest and generates a fair degree of tension during the most intense sequences, the film’s breezy tone is a tonic for those who don’t like to feel wrung-out after violent, edge-of-the-seat confrontations.

The style feels a little like that of the recently departed TV show "24," albeit without Kiefer Sutherland, the split screens, and the ticking clock.

In terms of the balance between narrative, mystery, and razor-sharp dialogue, I was reminded of Knives Out. Very different films in some ways but not that different in their ability to engage, entertain, and not overstay their welcomes.

It's fascinating to see how life imitates art; the closing months of Tolstoy's life read like something he might have penned. One need not be familiar with "War and Peace," "Anna Karenina," or anything else written by the Russian great to appreciate the movie, however.

Despite various shoot-outs, dogfights, chases, and crashes, Oblivion is not a teen-friendly film. The storyline is too dense and the pacing too uneven.

Song Sung Blue is a good story—heartwarming, uplifting, tear-jerking, and chock full of a beautiful noise.

The Hunchback of Notre Dame isn't bad, it's just a little disappointing. Despite the over-hyped and overexaggerated darkness of the production, kids will love it.

In the end, the story becomes a little too convoluted and the resolution is over-the-top but, for the most part, the twists and turns keep the viewer engaged, the puzzle pieces fit together on a second viewing, and Rylance never ceases to mesmerize.