Produced during the pandemic and available on Netflix, the movie is well worth a look both as an exploration of love’s bitter aftermath and as an example of how art can bloom even in the most challenging circumstances.

The underlying idea is pregnant with promise but writer/director Shelagh McLeod, making her feature debut, is trapped by the time limitations of a film into cutting narrative corners and cheating to achieve an upbeat ending.

White Squall is a success because the good elements are so well-orchestrated that they dwarf the few obvious flaws. This film offers just about everything, including a twenty-minute white-knuckle sequence and a chance to shed a few tears. In short, it's first-rate entertainment.

The slow, uneven beginning is more than compensated for by the rousing climax.

Director Philip Saville, working from a script by Adrian Hodges (which, in turn, is based on the novel by Julian Barnes), has crafted a competent, character-based tale, but the issues examined are stale, and Saville is unable to find a way to take the story to a newer, more interesting level

I'm not convinced there was a compelling reason to remake La Femme Nikita. The original stands well on its own, and, having been made only a few years ago, it's definitely not dated. Nevertheless, mainstream American audiences hate subtitles, so this won't be the last foreign language film to receive this treatment. In terms of style and originality, Point of No Return can't compare to its inspiration, but, for a Hollywood thriller, it's more than adequate.

If you go to Eight Legged Freaks expecting anything but a campy, cheesy romp, then you have wandered into the wrong theater. This movie is for those who like smart (often self-referential) humor and cheap thrills.

In terms of checking off the genre’s requisite boxes, You, Me & Tuscany does just enough to earn a passing grade for rom-com devotees who prioritize "vibes" over cinematic standards.

A fully disengaged brain is probably the key to enjoying Final Score. Employing even basic logic engenders a recognition of how truly stupid this screenplay is, especially when it comes to the resolution.

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

At his best, Carpenter was able to do amazing things with low budgets and a surfeit of creativity but, despite the arguments of its adherents, Big Trouble in Little China isn’t an example of one of those instances.

Instead of bringing intriguing characters with real problems and interesting dialogue to the bash, Kaplan and Elfont take the lazy approach of pulling generic stereotypes off the shelf and throwing them into a formulaic plot that doesn't offer one genuine surprise or meaningful moment.

I.S.S. doesn’t disappoint but neither does it go above or beyond what one might reasonably expect based on the trailer.

Red Sparrow is a deliciously perverse, unflinchingly violent thriller – a modern-day espionage tale that breaks with the tradition of making the spy business the purview of suave and debonair characters.

There are problems with De Palma's version, especially in its portrayal of the key relationship between Carrie and her mother, but it's a more engaging and insightful portrayal than Kimberly Peirce's too-slick remake.

Perhaps the most disappointing thing about Apt Pupil is the lack of sustained tension generated by director Bryan Singer.

Measure of a Man, the sophomore feature effort from British director Jim Loach (the son of the famed filmmaker Ken Loach), effectively captures this difficult-to-pin-down feeling with a largely unsentimental coming-of-age story based on Robert Lipsyte’s novel, “One Fat Summer.”

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.

Fly Me to the Moon isn’t a complete failure to launch (thanks primarily to the not-inconsiderable charisma and energy Johansson brings to the production) but neither does it have the thrust to make it into orbit.

There's nothing in The Guardian that audiences haven't previously been exposed to ad nauseam.

The problem with In Time, to the extent that it is a problem, is that an intriguing premise turns into window dressing for a somewhat routine "Bonnie & Clyde"-meets-"Robin Hood" action thriller with car chases, heists, and gunplay.

he movie is funny enough to get its share of laughs but, in its angry heart, it’s a tragedy - and the saddest part is that too much of this story is true.

Tomorrow Never Dies is a better film than Goldeneye. In fact, it's the best Bond film in many years.

This sloppy mess also pales in comparison to the better-paced, taut "Olympus Has Fallen," which represents 2013's better White House invasion story.

As a piece of religious instruction or an animated version of a crèche, it accomplishes its aims. As a movie, however, it's slow, plodding, and not terribly interesting.

Essentially a one-joke movie that milks its central conceit long after there's nothing left.

A fairly routine thriller that gets high marks as a result of tight pacing and top-notch acting.

Part of the reason The Devil's Own is endurable is because, in spite of various script deficiencies, both of the stars -- Pitt and Harrison Ford -- have an undeniable screen presence. And, while star power can't save a sinking movie, it can at least keep it afloat longer.