Hulk represents the most involving superhero motion picture since "Superman" soared skywards in 1978. By taking its time to develop characters and situations, Hulk does what so many action/adventure movies fail to do -- allow us to really feel for the protagonists.

Toy Story 3 enhances the legacy of its brand while providing exceptional entertainment value for viewers of all ages, especially for those who favor the brighter, livelier 2-D iteration over the 3-D gimmick.

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.

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.

By entering such fertile, intellectually stimulating and psychologically rich territory, Estes provides us with a freshman feature that is far beyond the generic coming-of-age tale Mean Creek initially seems to be.

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.

Back to the Future is played neither entirely seriously nor entirely for laughs, and therein lies the nature of its success. It's funny and breezy but doesn't descend to a level where the characters are little more than props for jokes.

A delightfully loopy comedy about the hijinks that occur when families collide.

Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

Originality may be at a premium here, but The Full Monty offers plenty of opportunities for laughter and genial smiles.

It’s a seamless continuation of the stories and relationships introduced in Zootopia, moving things forward without making any radical changes to the underlying formula—and that consistency may be exactly what audiences want from a return trip to this animated menagerie.

A little too long and suffers from a sagging midsection when the level of exposition becomes laborious, but the spectacularly entertaining final 30 minutes compensates for a lot of flaws.

One Life feels like something straight out of the 1990s when many low-key, non-U.S. dramas were being embraced by art house devotees and more adventurous multiplex visitors. The movie is neither showy nor ostentatious. It tells a story in a workmanlike fashion that allows viewers to learn a little bit more about the central figure and why his life is deserving of a big-screen treatment.

Isn't for everyone, but for those who are not bothered by the homosexual relationship, it offers a study in yearning, love, and loss. It didn't affect me as deeply as either "The Bridges of Madison County" or "The Remains of the Day," but it evokes some of the same feelings.

A fresh and engaging storybook adventure that should appeal to viewers both inside and out of the core demographic.

While the legal stuff provides the film’s crowd-pleasing element, some of the foundational building blocks give The Last Vermeer a little heft, elevating it to a level where one is almost tempted to call it a quasi-art house production.

Moana is an entertaining and worthy way to close Disney’s 2016 animated roster.

The movie isn’t quite as unhinged as the trailer indicates but it’s far enough off the beaten path to provide enjoyment for those who enjoy their blood & guts served with a twist.

It is possible, however improbable, that a "bad" movie can still be highly enjoyable. Formula 51 is such a film.

As animated films go, this is easily the best of a weak year.

The film takes a little time to explore the political landscape of the time, and features an Oscar-worthy lead performance.

Overall, if the film is not as funny as its predecessors, that's probably part and parcel of why it doesn't seem as enchanting. Emotionally, despite the character arc, Cars doesn't resonate in the same way "The Incredibles" or "Toy Story" did.

By avoiding the temptation to rail against religion and instead offer an introspective and respectful look at it, Novitiate becomes that rare thing: a movie willing to show the flaws of Catholicism without dwelling on its negatives.

Monkey Man may be a silly-sounding title but the story it tells is anything but silly.

Here’s a rare example of a Netflix prestige film that neither runs too long nor overstays its welcome. While some of the A-list directors working for the streaming distributor have taken the opportunity to meander and add bloat to otherwise worthwhile projects, Ron Howard has developed this project exactly as he would have made it if it had been intended for a traditional release.

This is one of those rare horror movies that concentrates on suspense and terror rather than on gore and a high body count.

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.

The Fall Guy delivers where it matters – it’s a fun, uplifting excursion into big-screen escapism.