It's ironic that a film with this title should be among the most vital, alive, and challenging cinema experiences of the year.

The tone is lighthearted and the performances are effective but, in the end, the feature is so inconsequential as to leave no lasting impression.

Like other actors who successfully create a cinematic doppelganger of a real person, Strathairn gets under the character's skin.

Deep Water is a documentary, but it's also one part adventure film, one part Greek tragedy, and one part meditation on the role of the "hero" in modern society.

In the end, there's a sense that director Olivier Assayas is more concerned about making a point than telling a story.

The film has been crafted with a consideration that the best family movies appeal not only to a young target audience but to the parents who accompany their offspring to theaters.

This is not a masterpiece, but it contains moments of rare beauty and its contemplation of life, death, regret, and memory has a subtle power.

Ultimately, despite flirting with some darker subjects, Little Miss Sunshine lives up to its name.

The Old Man & the Gun’s problems relate to a lack of balance. The movie is fine when it focuses on Redford – at least until the anti-climactic final act when it loses energy and momentum – but dead-in-the-water where the other actors/characters are concerned.

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

Howard and Morgan have transformed this story into something more than an embellished re-telling of recent history. They have shaped a tragedy that is almost Shakespearean in force.

Dealing with subjects that could easily have emerged half-baked, Lee instead applies his talent and comes up with a dish cooked to perfection.

The blend of quick-moving adventure, familiar faces, lowbrow slapstick, highbrow wit, and visual style offers more than one thing to just about everyone. And, with an ending that mocks the idea of happily ever after, Time Bandits concludes perfectly.

Although the majority of the movie focuses on the interaction between Mark and Cheryl, there is a third character in the mix. Catholic priest Father Brendan, played by William H. Macy, belongs to a liberal wing of the Church found only in movies.

Mank may be Fincher’s most technically challenging production to-date but it suffers from what some might consider to be the director’s Achilles heel: his laser-focus on perfection results in a tepid emotional temperature. It’s hard to feel much of anything for (or about) any of the characters, even the title one.

Does what all good National Geographic documentaries do: it informs and entertains while providing interesting wildlife footage. Unfortunately, it's not cinematic.

Liking "Ex Machina" is no guarantee of liking Annihilation or vice versa. In terms of tone, Annihilation is a close cousin to "Arrival." There’s the same dark atmosphere and bleak sense of discovery.

Despite the grim, serious nature of the subject matter, Meirelles unearths occasional moments of humor, although they are often of the gallows variety.

The movie's point, which is impossible to miss, is that it's hard being black & gay in America and, while there's undoubtedly truth in that sentiment, it doesn't necessarily make for a compelling motion picture circa 2011.

Red Rock West is a roller-coaster ride of a film, designed for those who like their thrillers spiced with the unexpected.

Pride will get viewers cheering while reflecting upon how far we have come in 30 years… and how far we have yet to go.

This role could represent a career performance for Cheadle, whose forceful and multi-dimensional portrayal keeps Hotel Rwanda at a consistently high level.

Babygirl is perhaps not as gloriously, guiltily entertaining as some of the films Reijn used as models but it offers its own pleasures.

El Cid is about as self-important as a motion picture can be. Regardless, there are still moments of breathtaking, almost transcendant splendor, when the film makers attain the grand aspirations they strive for.

One of those rare films whose historical impact outweighs its quality. It's a good film, but not a classic. Yet, although little more than a socially conscious, well executed science fiction adventure film, Planet of the Apes arrived in theaters at just the right time to capture the country's imagination.

Coriolanus deserves to be seen, however, especially among those who enjoy Shakespeare without considering themselves purists. It's violent, bloody, fast-paced, and powerfully acted. And, if the language represents a barrier of sorts, it's worth remembering that some of the greatest phrases in history derive from Shakespeare's texts.

In its day, it provided the ultimate two-hour vacation from the stark day-to-day realities of living during the Great Depression. For 21st century viewers, the film is little more than a curiosity, although it's entertaining enough.

This isn't a revolutionary or thematically rich motion picture, but it's a well-told story featuring solid performances and a nice sense of atmosphere.