Of Austen's novels, none is more beloved than this one, so it's good to see it once again brought to the screen with the pride which it deserves.

Draws its audience along a rarely-traveled path whose scope can only be fully appreciated in the silence of the aftermath.

It’s an adorable confection – light, airy, and largely without substance.

This is a brave movie because it addresses a subject Hollywood feels uncomfortable about.

Not as corrosive as Russell's debut feature, "Spanking the Monkey," it's just as wild, just as strange, and even funnier.

Features minimal dialogue. It is mostly about mood and images, and it moves at a glacial pace.

Hit Man is smartly written, with Linklater and Powell deftly melding screwball comedy elements with rom-com beats against a Hitchcockian thriller backdrop. The small twists have big payoffs.

This is a fascinating story of determination and survival that deserves to be told. It is ultimately uplifting but it's tough going to get to that point.

Truly a tale for our time.

Whitmore's Brooks is a brilliantly-realized character, and the scenes with him attempting to cope with life outside of Shawshank represents one of the film's most moving -- and effective -- sequences.

This is a vital, original, and emotionally potent chapter to one of the longest-running movie series out there. It will easily be one of the summer of 2017’s best films and, at the end of the year, it will likely find a space on many respectable Top 10 lists.

Talky and intelligent, and never takes the cheap way out. It's also something of a downer.

Despite never previously having made a feature film, Stolevski’s sure-handed approach delivers a winner. He takes chances, doesn’t underestimate his audience, and tells a story worth telling.

The sophomore feature effort from director Destin Cretton (remaking and expanding upon his 2008 short), this movie avoids the numerous landmines awaiting someone venturing into this territory and, as a result, emerges triumphant.

By employing nostalgia but not relying exclusively on its effects, the filmmakers are able to tell the story of how the program started with details that may surprise all but the most knowledgeable of fans.

Although there's little wrong with the first two-thirds, A History of Violence slides onto a tangential path during its final act, and this misstep reduces the production's overall effectiveness.

The storyline is more interesting and ambitious, the characters -- little more than appealing types in the original -- are allowed to grow and develop, the special effects are more mature, and the tone is deliciously dark and downbeat. [Special Edition]

Passionate and magical, Forrest Gump is a tonic for the weary of spirit.

The Nightmare Before Christmas has something to offer just about everyone. For the kids, it's a fantasy celebrating two holidays. For the adults, it's an opportunity to experience some light entertainment while marvelling at how adept Hollywood has become at these techniques. There are songs (even if they aren't nearly as noteworthy as they should be), laughs, and a little romance. In short, The Nightmare Before Christmas does what it intends to: entertain.

If not for a somewhat forced catharsis during the epilogue (the weakest segment of the movie), Breaking the Waves would have been more wrenching than it is.

Jeff Daniels, an actor who is often relegated to inoffensive supporting roles, surprises with the power and intensity of his performance.

Feel-good tripe: a string of clichés lashed together by a formulaic plot that features underwritten characters and sit-com style humor.

Ultimately, when the end credits roll, we're left with the sense that Star Trek represents a good beginning. As a film tasked with getting all the characters together, re-booting a timeline, and finding a way to return a veteran actor to his beloved role, Star Trek works.

Don’t be fooled by the PG-13 rating – A Quiet Place has an adult aesthetic and younger viewers may be unprepared for its unconventional style and unrelenting intensity.

The acting is uniformly excellent. For the roles of Ashoke and Ashima, Nair has employed prolific Bollywood stars Tabu and Irfan Khan, both of whom give performances of great range and empathy.

Miyazaki may not have achieved the level of "Spirited Away," but he's still ahead of the curve.

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

It’s a cliché to remark that “they don’t make them like they used to” but, in the case of Marty, it’s true.