Rather than perpetuating racial stereotypes, Eve's Bayou defies them, creating several well-rounded characters and placing them in a deceptively complex story that builds to a forceful conclusion.

There are no gadgets, forcing Bond to rely on his ingenuity (in one scene, when he needs to breathe while submerged, he uses hollowed-out reeds as air tubes). The single car chase is reasonably straightforward. And, for the only time in the series, 007 is unmistakably brutalized, appearing bloody, beaten, and disheveled as a result.

Whedon has made the Bard accessible and that achievement places him alongside Branagh in the exclusive club of directors who can handle both superheroes and Shakespeare effectively.

An accomplished film that uses dark humor to leaven its serious topics.

It casts a warm, relaxed spell that evokes feelings guaranteed to bolster sagging spirits.

Perhaps it's the lack of sex or perhaps it's the incessant, banal chattering of the characters, but this movie is more likely to inspire sleep than interest. Breillat has done something I never expected from her: made a boring film.

For roughly two-thirds of its 100-minute running length, Barbarian is a top-notch excursion into the dark, twisty tunnels and catacombs of a mystery-cum-monster movie.

Del Toro's filmmaking instincts are solid and he makes this an engaging 150-minute journey, but when it was over, I never felt I had truly explored something fresh, and that was a mild disappointment.

Like the little-seen 2004 mockumentary, "Confederate States of America," Sorry to Bother You blends conventional comedy with political satire to produce a film that will generate laughter and a sense of discomfort in equal doses.

The movie stands out as one of the year’s most memorable experiences.

Yes, the ending is weak, and there are aspects of the story that don't stand up to scrutiny, but this is the kind of effectively-crafted, well-acted motion picture that rises above its faults to earn its "classic" appellation.

This is off-the-beaten-path movie-making that calls attention to itself by how different it is from the cookie-cutter stuff playing next door while never losing the capacity to entertain those who enter this bizarre world.

Although Logan Lucky works as a heist film, it neither amazes with its narrative contortions nor keeps the audience waiting with baited breath for the unveiling of some big twist.

Obviously, the primary reason to see James and the Giant Peach is for its visual splendor.

With its striking images, pervasive atmosphere, and incessant sense of dread, Nosferatu leaves an impression that proves hard to shake.

Viewers will discover that the film has something to offer nearly everyone, whether they are a novice or a black belt in kung fu cinema.

Perhaps the most impressive feat of this film is sustaining white-knuckle tension even though the chain of events is well-known.

By taking a different road, Iannucci has provided something that captures the essence of David Copperfield without being constrained by every detail.

A flawed but entertaining (and perhaps informative) tale.

Movie-going isn’t a civics assignment but Till is a sufficiently powerful motion picture that it offers more than a history lesson.

It’s an entertaining enough movie and the sound design and visual palette make a strong case for theatrical viewing (over the phone/tablet/TV alternative) but the elliptical narrative may frustrate some viewers and the lack of an epic scope make this a most atypical would-be blockbuster. Still, Peele’s name recognition is strong and the less-is-more style of the trailer has created a level of buzz. Those who see Nope might not get exactly what they’re expecting but they may enjoy it anyway.

Finding Dory is enjoyable in its own right, even if its powerful sense of déjà vu keeps it from approaching the pinnacle of the Disney/Pixar collaborations.

It demands thought, compels the attention, and refuses to be dismissed. And, for that reason, A Clockwork Orange must be considered a landmark of modern cinema.

Christian Bale continues to amaze with his ability and range.

Happy Feet ends on an upbeat note with singing and dancing, but the weaknesses that precede it deflate the euphoria.

Everything about this movie feels both tired and tiring. Yes, it does a great job setting up a sense of deep unease but that quickly evaporates when it becomes apparent the movie isn’t going anywhere worthwhile or interesting, and the ending is downright silly.

Clever and atmospheric, the film has enough twists to keep the average viewer guessing.

Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.