It is involving and entertaining, and features an intriguing, independent heroine.

The two actors, Daniel Day-Lewis and Emily Watson (Breaking the Waves), give such forceful performances and interact so well that it's impossible not to be mesmerized by their interaction.

Babylon is uneven, to be sure, but any missteps are more than compensated for by the exultation derived from the moments of frenetic exuberance that have become Chazelle’s bread-and-butter since he exploded on the scene with Whiplash and took La La Land to the brink of an Oscar victory.

Romanticizes gangland Chicago, but no more so than other films set in the same period. And, like almost every movie about the mob, this one deals with themes of family, loyalty, and betrayal -- albeit without the intensity of some of the great ones ("The Godfather," "Goodfellas").

Fantastic Beasts is an enjoyable stand-alone but its position as the progenitor of a new franchise remains unclear.

This is a film to be enjoyed on a psychological level for its keen understanding of the contradictory impulses that drive sexual and social intercourse.

One of the singular pleasures of films like The Invisible Woman is the window they offer into the lives of deceased authors who are known primarily to modern audiences only through the words they committed to paper.

Like most rom-coms, it is comfort food although it lacks the fantasy element associated with characters who are less seasoned.

As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled.

Eastwood has crafted something that works both as a sports drama and as an examination of the birth pains of the racially unified South Africa.

It's a deliciously amusing and sometimes surprisingly poignant look at the difficulties of being a 15-year old outsider whose chief goals in life are getting laid and making sure his parents don't split up.

What starts out as a talky, modern-day re-interpretation of "Pygmalion" (Henry Higgins is explicitly mentioned) turns into something heart-wrenchingly bleak.

What we have here is enjoyable, if somewhat scattershot, and at least as entertaining as what’s airing most Saturday nights at 11:30 pm.

Isn't quite good enough to elicit a purr, but it represents better-than-average movie-making that doesn't demand a dumb, distracted audience.

This is a solid family film material, although one suspects the children will get a little more out of it than their parents.

Older viewers are more likely to appreciate the film’s intentions than fully embrace the story and its characters. Kids, on the other hand, will probably enjoy the frenetic action sequences; plucky heroine; cute, talking animals; and colorful visual representations.

It's certainly a successful adaptation, features numerous memorable performances (mostly by the supporting players), and is worth a post-holiday expenditure of time and money.

It’s not a complete package but it’s fresher than much of what’s out there today and is difficult to dismiss even if it sometimes feels like a graphic novel married to a video game.

It’s a fun film that breezes by and, despite any liberties it takes with history, offers a valuable look at Wonder Woman’s real origin story. For adults with curiosity, this makes for an offbeat companion piece to the big-budget blockbuster.

A lot takes place during The Painted Veil's two-hour running length, but most of what happens occurs within the hearts and minds of the leads.

Frozen II is a worthy follow-up with enough heart, action, and music to entertain younger and older viewers alike.

Like many entries into the genre, Jagged Edge works best when it's watched with a minimum of analysis. There are a fair number of gaffes, flaws, and other assorted problems, and the plot looks progressively less substantial the more closely it's examined. However, the bottom line is that the crux of the story - whether or not Jack is guilty - is engrossing, and it isn't until we know the answer that the movie really seems to let us down.

The film’s climax is tautly executed; the way everything plays out is a whirl of brutal, violent beauty.

Diplomacy will work for those who appreciate dialogue-based character films in which plot is of secondary importance. This is a showcase for acting.

At its heart, Harrison's Flowers is a love story, albeit a graphic and difficult one.

Smile represents the latest in an impressive roster of horror films that have pushed the envelope, daring to go where most cookie-cutter fright-fests of the past decade have avoided treading. This is a dark, uncompromising movie that explores serious subjects like trauma and suicide.

Lelio’s subdued approach to the material robs it of potential emotional power but also keeps the story grounded.

With fresh dialogue and a willingness to show his protagonists in a less-than-favorable light, Demme has found a way to make this entry memorable.