It's an unsettling piece that reminds us how even monsters aspire to living the American dream.

Allen appears determined to craft a motion picture that can be laughed at without plumbing any especially deep neuroses of the human condition.

Overall, this is a well-acted peek back in history to an era when scientific and engineering techniques currently taken for granted were in their pioneering stages, impelled forward by humanity’s insatiable desire to explore and conquer new vistas.

One of the most obvious problems with The Godfather Part III is that it covers little new territory. The plot is highly derivative of the original.

Enough conspiracies and secret codes to make Dan Brown sit up and take notice. All this and more can be found in David Robert Mitchell’s bizarre, trippy Under the Silver Lake, where the plot at times seems as perpetually stoned as Andrew Garfield’s lead character.

Hobbs & Shaw is a “classic” summer movie in every sense. It uses Fast & Furious physics (as opposed to the Newtonian kind) to amp up the spectacle element while diminishing the excitement quotient.

For many adults, sitting through this will be an exercise in tedium. It offers about as much as an oversized, overlong Saturday morning cartoon and if that's where expectations are set, it probably won't disappoint. Talk about setting the bar low, though.

Director Marc Webb brings the same kind of deft craftmanship for drama and low-key humor that he exhibited in "500 Days of Summer" and the result is emotionally true and dramatically solid.

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

As family films go, this one offers an engaging and exciting 90 minutes.

Scott is by no-means a “can’t miss” filmmaker. Although this is far from the worst films he has made, House of Gucci is among his most disappointing. With such a strong cast and the pedigree of a high-profile true crime story, viewers are likely to expect something with more octane. But the movie is too long and starts to spin its wheels long before it reaches its destination.

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.

More of the same. One senses viewers wouldn’t want anything different.

It is difficult to deny Nell's intelligence and sensitivity. We approach this story with the same fascination that Nell faces each day, seeing, if only for a short time, how different the world -- and people -- can be.

Despite Tony Scott's occasional blundering, True Romance is still a visceral roller coaster.

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.

Despite flouting Hollywood clichés, it nevertheless manages to be both romantic and funny even though it starts with the separation of the main couple.

The strong final third counterbalances the weaknesses of the first half. I prefer films that build to something worthwhile rather than collapse short of the finish line.

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

Those yearning to make use of a small package of tissues may be willing to overlook the movie’s deficiencies but I can’t help but wonder whether a conventional telling of the same story might have been more effective in the long run.

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.

Regardless of the medium, this is an effectively brutal story of swords, sorcery, demons, and heroes, with an Oedipal hint or two thrown in for flavor.

Lack of focus is ultimately the undoing of sophomore feature director Yann Demange – despite crafting several compelling stand-alone sequences, he is unable to stitch everything together into a compelling whole.

For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.

Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.

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.

Jolie's account is mostly accurate but coldly clinical. The story is effective in relaying Zamperini's narrative but lacks both the gut punch one often gets from prisoner-of-war narratives and the full catharsis one expects at the end.

I'll be among the first to admit that Timothy Dalton is a fine actor. But giving a solid performance has little to do with being a good James Bond, and, as accomplished as Dalton is, he's a failure as 007 in The Living Daylights.

The film’s problem is that, after chronicling Nancy’s nightmarish 12 hours on a tiny rock island, director Jaume Collet-Serra and screenwriter Anthony Jaswinski don’t know how to end things. Their choice of a resolution is preposterous and underwhelming.

After starting out as a character-based ensemble piece, The Best Man Holiday turns into a predictable affair determined to hit as many familiar beats as possible while striving to wring tears and cheers in equal quantities from its audience.

This is one of those middle-of-the-road art pictures that will impress some music lovers and attract a small audience, but won't really excite anyone. Copying Beethoven does not do for its title composer what Amadeus did for Mozart, and that's a shame.

With the exception of a few slow spots, Outlaw King flows briskly. It’s one of the better “Netflix originals” the service has provided and worth the expense of two hours.

Wheeler is extremely secure in filming the sex scenes - they are inarguably erotic - but she has trouble with serious drama. Overall, that makes Better Than Chocolate a mixed bag with a wavering focus. In many ways, it's like the majority of heterosexual romances -- not unpleasant or unwatchable, but nothing special.

The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.

Unless you're a fan of Slater or Tomei, or hopelessly addicted to sappy, ineptly-handled love stories, there's no reason whatsoever to subject yourself to this movie.

The best film of The Hobbit's three, this final installment is closer in quality to "The Lord of the Rings" than to its immediate predecessors.

No matter what your opinion is of the movie, you're unlikely to be bored.

Happenstance represents an intriguing meditation on the unseen forces that no one can escape.

Unfortunately, although there are a few nasty thorns here and there, The First Wives Club is a largely uninspired (and unfunny) comedy that collapses completely in the final fifteen minutes.

As a feel-good movie about disabled youths, Rory O'Shea Was Here gets the job done, but it isn't interesting or daring enough to make it worth a trip to a theater.

As a cavalcade of highlight clips, it’s hard to imagine something more attention-catching. But as a movie… What works as a sizzle reel totaling three minutes shows its inherent shallowness when expanded to nearly two hours.

Camilla Belle is an impressive newcomer - this could be her breakthrough appearance.

It often tries too hard for laughs and gets cringes instead. Lawrence and Feldman play well off one another, but the movie needs more than that chemistry to be an unqualified success.

Doctor Sleep is more straightforward and narratively clean than "The Shining." Although too long by at least 20 minutes, it is more accessible and doesn’t overly penalize those who haven’t seen (or don’t remember) the original movie.

Much of this movie seems like a retread of Jurassic Park (with a little King Kong thrown in at the end), not because director Steven Spielberg is intentionally copying himself, but because there's really not much more that he can do with the premise.

It's rare for homosexuals in mainstream motion pictures to be presented as individuals rather than icons; Love! Valour! Compassion! defies tradition by proffering its characters as real people with believable problems.

DiCaprio wears the persona of Hoover with ease, again reminding audiences that the young man who made so many girls swoon with Titanic has grown into an actor of great range and capability.

Not mainstream fare, but neither is it as willfully obtuse as "Melancholia."

Alien 3 is, simply put, a mess. The writers have no idea how to tell a coherent, entertaining story. With the exception of a surprise or two, there isn't much worthwhile here.

Taking advantage of the studio's breathtakingly intricate animation, directors Mike Gabriel and Eric Goldberg have breathed vitality into this, the fifth "new wave" Disney animated picture.

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."

Denzel Washington plays Denzel Washington, good cop. This isn't a great performance, but Washington wasn't brought in to show off his acting chops.

As a comedy, The Mask is genial, but its recycled plot is far too thin for the film to succeed as either an adventure or a spoof.

Deliver Me from Nowhere wants to be profound, but it mostly feels like it’s still searching for a chorus.

One thing missing from Fight or Flight is the kind of Tarantino-inspired banter that elevated Bullet Train. In fact, the production is only fitfully successful in transcending the boundaries of a generic action film.

Heartbreaker isn't disappointing enough that it will cause pangs of deep regret for anyone who pays to see it in a movie theater, but it will go down more easily as a home viewing option.

The Lovebirds stands out as a worthy opportunity for home entertainment.

It's a symphony of solid storytelling and good feeling that pays tribute to Hollywood's rarely-seen, gentler side.

Abetted by a strong lead performance from actress Felicity Jones, the film stands as a monument to gender equality at a time when that subject has become a hot-button issue due to the upheaval associated with the “#metoo” movement.

The trailers make Run All Night look like a fast-paced shoot-'em-up and, although those elements are present, this is a darker and grimmer experience.

A fun-but-uninspired swords-and-sorcery story.

With a cast like this, one has a right to expect something amazing, so the fact that We Own the Night is merely "entertaining" might cause disappointment in some quarters.

This is a lackluster film that exists exclusively because its predecessor made money.

By limiting the number of special effects shots and treating the film more like a horror movie than a science fiction spectacle, Shyamalan creates a claustrophobic atmosphere and keeps the tension level high. There were times during this film when I was strongly reminded of "Panic Room."

Too much of what The Spy Who Shagged Me has to offer is tired and derivative, and, when the various jokes and gags are tallied, there are many more misses than hits.

Bridget Jones’s Baby exceeds expectations and, as a result, makes us willing to forgive the delay in bringing the character back to theaters.

The final chapter of the trilogy has saved the best for last and will at least deflect the most serious concerns of those who think this series has taken too many extra laps.

An insult to anyone who has tragically and unexpectedly lost a loved-one in a similar manner.

A scathing satire of conspicuous consumption and a fashion-obsessed culture, Absolutely Fabulous - The Movie hits most of its targets and twists the knife but, as funny as the material sometimes is, the flimsy narrative and threadbare caricatures encounter difficulties trying to sustain a 90 minute motion picture.

From an acting standpoint, Blake Lively makes a compelling case that she doesn't have what it takes to play this sort of a role; she lacks the chops to carry the elements of the movie in which she is expected to dominate.

Despite being sold and marketed as a thriller, the most interesting aspects of Shot Caller are the dramatic ones.

This movie isn't a disaster, but, all things considered, there's little reason to make it a high priority for theatrical viewing.

With its hackneyed plot, feeble attempts at characterization, and predictable finale, the second half of Independence Day becomes an extremely dull and lifeless affair.

Crafted with flair and style, and without pretension, Confidence achieves the modest goal of being an entertaining cinematic adaptation of a B-movie script with an A-list cast.

One of its most obvious strengths is that it can satisfy many different types of audiences -- those who demand something substantial from their motion pictures, and those who could care less.

While I admired the lead performances, the journey of The Drama remains unfulfilling. When I see a movie like this, I want to connect with the characters and believe their circumstances. I got some of the former but practically none of the latter.

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

In many ways, The Forgiven feels like a CliffsNotes version of a longer, more complex narrative. But, even considering that numerous subplots might benefit from a mini-series approach to the material, the transformation of the central character is handled in a powerful, credible manner.

The problem with the movie isn't the acting, it's the story, which falls considerably short of the promise of its premise. For a plot about super-intelligent people, the screenplay is surprisingly dumb.

It’s an okay movie if all you want is an everyman dad doing superhero-ish things while getting beaten up along the way, but it’s neither as wildly entertaining nor as exhilarating as its predecessor.

Despite having a slim resume (the quirky indie Safety Not Guaranteed), Trevorrow handles Jurassic World like a pro. He hits all the right notes, giving the two-dimensional characters as much heft as they deserve (which isn't much) and handling the action sequences like a seasoned veteran of Hollywood tent pole features.

Relying more on existential and philosophical issues than action or cheesy special effects, Realife represents the kind of movie I want to see more of.

The new Ivan Reitman/Arnold Schwarzenegger comedy is a one-joke affair, and it takes surprisingly little time for the potential humor in the situation to wear thin.

Putting aside all the controversy, however, viewers are left with an expertly-directed and well-acted historical epic that disappoints only in its shallow perspective of the Irish/British and Irish/Irish conflicts.

What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.

This is a movie to restore the faith of those who had given up on science fiction after "The Matrix Reloaded/Revolutions." By adeptly combining action and ideas, it proves that Hollywood can still produce astonishing entertainment.

There are times when iconic characters should be left alone to bask in the glory of a single appearance and, unfortunately, that's the case with Gordon Gekko.

This isn’t Sheridan at his best and, although it may provide Jolie with some exposure outside of voice work and Disney properties, it’s not going to resurrect her career as an action star or a serious actress.

So, for Bad Boys for Life, we avoid a trip into the lowest depths of hell in favor of a dead end.

The concept of expanding the John Wick “world” by adding a worthy female counterpoint isn’t an inherently bad idea. The flaw is in the execution.

The scares (if you want to call them that) are still there - one "boo!" moment after another, strung together like a breadcrumb trail through a labyrinth. So if that's all you want from a Halloween release like Paranormal Activity 3, you are the perfect audience member.

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.

This is a disturbing film, a journey into the heart of a damaged man’s psychosis. In many ways, it’s more of a horror film than an action/adventure offering. Even Nolan’s The Dark Knight, the crown jewel of the 21st century DC/Warner Brothers cinematic catalog, traced a more traditional comic book movie template than Joker. Within this genre, there has never been anything quite like it.

Despite its general failure, some scenes from Clash of the Titans remain memorable. Chief among them is the duel with Medusa, a scene that ripples with tension.

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 result, while capable of painlessly occupying 90 minutes, isn't remarkable enough to recommend as more than a home video rental.

The dramatic scenes aren't generally effective, but the comic bits more than make up for most of the deficiencies. Those searching for something that examines a crumbling marriage with greater depth and sensitivity would do better watching Judy Davis in Husbands and Wives.

Diamonds Are Forever is plagued with problems. After a promising start, the story devolves into idiocy.