The Green Knight has its share of flaws but there’s a freshness to Lowery’s approach that demands to be noticed.

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

Overall, Part 2 tells a more compelling and emotionally fulfilling tale than the one related in Part 1, although that could be a result of this movie having a conclusion - something its predecessor notably lacked.

Crafted without a whiff of melodrama, this motion picture takes a steady, unflinching look at the plight of Jews in Warsaw.

The R, however, isn’t for the usual “extreme gore” of a slasher movie. Instead, it’s mainly for profanity. Get Out has only a little blood and viscera; the approach of writer/first time director Jordan Peele is to approach the more stomach-churning aspects of his production with tact.

Spielberg’s West Side Story is a resplendent entertainment and a reminder that at least some of cinema’s great classics can in fact find new life in the hands of a master director who is more concerned about crafting a movie than making a blockbuster.

The Edge of Heaven is marked by a number of remarkable performances.

These are fascinating, three-dimensional individuals brought into the foreground by a pair of today's finest actors.

In the end, this is more a character study of Jenny than a tale of tortured love, and a reminder that any education worth having comes with its share of trauma.

If there’s a knock on Eighth Grade, it’s that it feels too true-to-life to be entirely comfortable.

At times compelling, at times devastating, and at times long-winded.

The narrative is little more than a flimsy envelope -- it's the men and women who are sealed within that make Sling Blade worth watching.

The escapism on offer here isn’t of a light and airy nature but instead provides insight into the darker, obsessive aspects of the human experience.

In an era when movies about love almost always invariably devolve into formulaic affairs, Neil Jordan's Mona Lisa stands out as an often-surprising, multi-layered achievement. By offering a rumination on a wide variety of love - real, imagined, romantic, sexual, and platonic - Mona Lisa defies easy categorization and offers a complex and superior one-hundred minutes for all who view it.

Knocked Up could be one of the summer of 2007's sleeper hits. It certainly deserves the distinction.

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.

The original film was gritty and entertaining ("Infernal Affairs"); the new version is a masterpiece - the best effort Scorsese has brought to the screen since "Goodfellas."

Using perfectly composed shots to amplify an emotionally resonant story, the film successfully argues that "artistic" films do not have to be boring.

Tomas Alfredson's Tinker Tailor Soldier Spy may be the best possible movie version of the story, but it illustrates that the big screen is not the ideal medium for a tale of this complexity.

The Wild Robot proves to be one of the best animated features to emerge from the American studios post-pandemic and even approaches Miyazki’s (alleged) swansong, The Boy and the Heron, in blending artistry with entertainment value.

If there’s a compelling reason to see the film, it’s Regina Hall.

Vincere is Ida's story, but it says as much about fascist Italy and its ruler as it does about the central character.

I recommend the movie both for Nicholson's performance and for the opportunity to spend some time with the kind of man that we often meet in real life, but rarely see on screen.

If there's a drawback, it's that the plot is trite. Hero is an exemplary example of visual poetry. The narrative is clearly of secondary concern.

The movie, like the book, takes a long, hard look at the system of racial inequality that defined this time and place, and reminds viewers of the price to be paid for surrendering to our base instincts.

The movie has a magnetic quality that’s all the more welcome because of all the weighty issues forming its foundation. It’s a tremendous debut effort for Hall, whose work seems more like that of a seasoned veteran than a first-timer.

One of Unforgiven's assets is the way it overturns conventions, taking the man who is typically the hero and making him the villain, while transforming the traditional bad guy into a sympathetic protagonist.

Wages of Fear is the kind of motion picture for which commonplace phrases like "white-knuckle tension ride" have been coined.

Christopher Nolan has provided movie-goers with the best superhero movie to-date, outclassing previous titles both mediocre and excellent, and giving this franchise its "The Empire Strikes Back."

Emotionally, Linklater’s recreation of August 1980 is spot-on. Sure, there are a few anachronistic cheats (how many college-goers in 1980 had a VCR in their room?) but the tone is just about perfect.

Hollywood’s decision to abandon this kind of storytelling is one reason why cinema in the 2020s has fallen into the doldrums and, when something like Black Bag arrives, it’s a bittersweet reminder of the potential of the big screen experience.

Atonement is effective at getting under the skin, and some audience members won't like that.

The Tree of Life falls short of masterful but retains a power that far too many motion pictures lack. It's about SOMETHING and, even when it fails, it does so in a manner that is interesting and not infantile.

The Fabelmans isn’t likely to go down as “Great Spielberg” or even “Very Good Spielberg” but it’s a warm, enjoyable plunge into the 1950s and 1960s.

Those in search of escapism should not look to this motion picture, but anyone willing to assume the risk of facing the ugliness of Johnny's world will find a startling, gut-wrenching, eye-opening experience.

The Host is a strange little movie: part creature feature, part social commentary, and part slapstick comedy. The problem with the film is that the sum isn't greater than the parts and the pieces don't fuse in a way that's consistently pleasing or cinematically satisfying.

Takes all of the drama and suspense inherent in a submarine-based story and delivers it in a near-perfect package, establishing Das Boot as not just a terrific adrenaline rush, but one of the best movies ever made. [Director's Cut]

A mixture of documentary and thriller, this is a compelling two-hour production.

It is by no means an “easy” movie with its somnambulant pace being a significant drawback. However, the movie has qualities that make it hard to forget and, on that basis alone, it is recommended viewing material for anyone serious about film.

The film functions as a time machine to take the viewer back to when (s)he watched “Mr. Rogers’ Neighborhood” on television and re-introduces the man who functioned as a friend/mentor/father-figure.

The Long Day Closes is very much the visual equivalent of a verse or a poem: beautiful images, but no narrative.

It's a compelling tale that offers the opportunity for reflection and discussion about issues that have never really gone away and continue to lurk in the cultural background.

At times, the movie gets bogged down in minutia but the emotions evoked and captured are as honest and brutal as one is likely to find on film.

While much of the archival footage presented in The Last Days is new, the substance is familiar. These are the kinds of images that no Holocaust film can ignore, because they drive home the horror of what transpired five decades ago, half a world away.

Deliciously perverse, delightfully twisty, and unapologetically erotic.

The result is magical and life affirming, and will enrapture those who are not scared away by the mention of "subtitles."

The film's success or failure depends almost entirely on a viewer's ability to relate to and become involved in the lives of the characters. We are with them for less than a week and, during that short time, we come to understand the lifetime of hurt and misunderstanding that stands between them.

Paranoid Park is a rare breed: a movie about teenagers in which the characters talk like real teenagers, act like real teenagers, and are played by real teenagers.

Aggressive editing could have shortened Giant considerably, but the three hour twenty-one minute running time permits the tale to breathe. And, even at this length, there are times when events feel rushed or compressed... So, although Giant may not be a classic in the purest sense of the word, it's a fine example of a virtually-extinct genre.

Everything in Out of Sight is smart -- the dialogue, the characters, and the storyline.

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.

There's more to the film than nostalgia; it also offers insight, and that's what makes it worth viewing on the big screen rather than waiting for its Discovery Channel premiere.

Lee's primary objective is to reflect back and offer a uniquely personal perspective of that single day last October. This viewpoint, which ultimately transcends the movie's flaws, is one of the aspects that makes for a worthwhile two hours.

The movie highlights how little things can become big issues within the preteen bubble and draws the audience into a communion with the characters and their circumstances. Although the target audience is unquestionably mothers and daughters, Are You There God? It’s Me Margaret has things to say to viewers of all genders and ages.

Although imperfect, it's engaging, thought-provoking stuff.

Although King’s film may not accomplish everything it sets out to do, it represents an important perspective of a time period whose essential injustices have gained renewed attention some 50 years later.

The Man Without a Past is a modern fairy tale. It certainly is divorced from reality. Despite this -– or perhaps because of it -– it's a satisfying motion picture.

This is the director’s least violent feature film but it is in every meaningful way evident as a product of the man who made "Pulp Fiction."

Moonrise Kingdom is lovingly crafted with an attention to detail that is breathtaking while, at the same time, it displays genuine affection for its young protagonists.

No film can ever hope to convey the complex mosaic of cultural upheaval caused by everything that happened between 1924 and 1977, but Farewell My Concubine does an excellent job presenting samples of the flavor while telling a story that is both epic and intimate.

I wanted to love Sinners more than I did but the energy level is so infectious that it’s impossible not to get swept up and pulled in. It’s a sloppy concoction that carves out a new niche for vampires not unlike what Let the Right One In achieved.

Perhaps the best way to describe Booksmart, the assured directorial debut of actress Olivia Wilde, is John Hughes for the 21st century. Although Hughes never came close to the level of raunchiness on display here, when one peels back the layer of vulgarity and R-rated dialogue, the beating heart of an honest teen-oriented comedy can be found.

For the briefest of moments, someone not paying attention might mistake Lantana for a mystery. -- Lantana is actually an examination of human interaction.

A solid starting point for those unfamiliar with Apted's greatest work, and a must-see for those who have been down this road before.

Fascinating and satisfying the way the diverse threads are knitted together into a single tapestry.

Blade Runner is a rare science fiction movie so full of material that pages can be written about it without scratching the surface. A review like this can provide little more than an overview. A detailed exploration of the movie, its style, and its mysteries requires dedication that only someone immersed in Blade Runner lore can provide. Currently, the film is available in the United States only in the director's cut. Warner Brothers, however, has promised an exhaustive box set next year with multiple versions. It will be interesting to see whether those editions offer new insights or expand upon the film's already rich tapestry.

Begins almost as a nostalgic excursion, but quickly detours into a powerful and telling story that examines forbidden love, racial tension, and other issues that are as valid today as they were in the 1950s.

Although the picture has not aged as well as some of its contemporaries, its themes remain germane, the story has lost none of its punch, and the performances retain their freshness.

Watching this film demands two qualities that are sadly lacking in all but the most mature and sophisticated audiences: patience and a willingness to ponder the meaning of what's transpiring on screen. 2001 is awe inspiring, but it is most definitely not a "thrill ride." It is art, it is a statement, and it is indisputably a cinematic classic.

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.

As in all powerful films, the content unfolds onion-like, with each level being peeled back to show something fascinating beneath.

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.

About the only reason to see Fire of Love is to be treated to more material from the Kraffts’ archives, since Dosa and Herzog mostly selected different footage.

Hamnet ultimately feels like the sort of mid-budget literary drama that used to be commonplace from the late 1980s through the early 2000s but has since become rare. It proves a better fit for Zhao than the blockbuster ambitions of Eternals: the intimate scale and emotional concentration suit her strengths.

If all it took was verisimilitude and atmosphere to define a movie, The Witch would earn a near-perfect rating. Unfortunately, despite a creepily effective setting and authentic setup, the movie suffers as a result of a frustratingly uneven screenplay.

Looper is a tremendous motion picture experience. Not merely a "very good" one, but a great one.

The best animated feature (at least thus far) of 2016.

Tautly paced and expertly directed, this roller coaster ride of a motion picture offers a little bit of everything, all wrapped up in a tidy science fiction/action package.

Although the narrative trajectory may be familiar, the specific path taken by director Andrew Patterson feels fresh.

Jim Sheridan skillfully interweaves a myriad of subplots and themes into a fast-paced, cohesive whole.

Although Volver has a tendency to stray too far down tangential paths, it is ultimately satisfying.

The resulting script offers the seriousness one anticipates from McQueen and the switchbacks and turns one expects from Flynn.

First-time director Russell Harbaugh presents grief as it is, in all its pain and ugliness, rather than using the convenient, uplifting short-hand that Hollywood prefers.

A wonderful motion picture, even given the weaknesses of the source material.

The two most moving scenes require extraordinary performances from supporting players...Forster is as deserving of a supporting actor nomination as anyone I have seen this year.

Unfortunately, along with his determination to burrow into the lead character’s psyche, Oscar-winning Damien Chazelle (whose statuette came for "La La Land") fully embraces the shaky-cam handheld approach.

It's a rousing science fiction story that proves an on-screen adrenaline rush.

While any or all of the events related during the course of the film might seem to form the backbone of an unendurably boring motion picture, everything comes alive because of Poppy.

The acting, especially by the male leads, is superlative.

Stalag 17, despite often being labeled as one of Wilder's "lesser" films, is a bona fide classic, and an example of how an accomplished director can meld many elements into a workable whole.

This is a powerful tale of crime, guilt, and punishment -- a drama that incorporates elements of whodunit mystery/thrillers and police procedurals with a richly textured three-character play.

The single greatest pleasure of watching this film is seeing great actors reciting Mamet's lines. It's rumored that members of the cast came to the set on days when they weren't scheduled to film so they could watch their fellow stars perform.

The Last Jedi is a film of moments. There are perhaps a half-dozen of them: goose-pimple inducing, fist-pump encouraging, heart-racing bursts of cinematic satisfaction. The problem is that the narrative threads connecting them are lazily knitted and sometimes tangled or broken.

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.

Local Hero is a fragment of cinematic whimsy - a genial dramatic comedy that defies both our expectations and those of the characters.

The Exorcist's strength is that it places character development on the same level as the horror elements, but it is not a ground-breaking motion picture. It is also too long, with a setup that could have accomplished the job with equal effectiveness in about 2/3 the time. [2000 re-release]

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.