This is a thriller with a high quotient of comedic elements or, if you prefer, a comedy with a high quotient of thriller elements. As is always the case with a production of Joel & Ethan, it's difficult to classify, but that doesn't make it any less enjoyable.

The film is at its best when it is at its most goofy, at times coming close to the laugh-aloud outrageousness of Will Ferrell's "Anchorman."

The characters are interesting and capture our sympathy and, although there are things to criticize about the final forty-five minutes, it brings the saga to a conclusion. There's a lot to like about The Place Beyond the Pines even if it isn't the feel-good movie of the spring.

It's great fun, but certainly not great art.

I left Wide Awake feeling the same way I did after seeing a number of Frank Capra's movies -- I was aware of the problems, but that didn't diminish the warm, fuzzy glow I was experiencing.

Kingdom of Heaven may have problems, but it delivers.

If there's anything special about the film, it's that on this occasion, the emotional realism of the characters, especially Slade, is heartwrenchingly believable.

There aren't many surprises, but the script is written with a degree of wit, and there are some bitingly funny one-liners (all of which are delivered by Garofalo).

By keeping the tone from becoming too somber and generating a degree of sympathy for Jewell, Eastwood has crafted an engaging (albeit fictionalized) account of the triumph of ordinary men over the establishment.

Boogie is at times unpolished but it offers a compelling and sympathetic portrayal of the title character and avoids excessive melodrama or a too-facile ending.

Although visually more impressive than even Bakshi’s blend of traditional animation and rotoscoping, The War of the Rohirrim suffers from some stylistic hiccups and the straightforward storyline limits the “epic-ness” of the production. Still, as a stand-alone adventure story, this is an engaging episode and a solid addition to a still-limited cinematic universe.

No matter how one views it, however, it’s worth seeing for the story it tells, the tension it generates, and the glimpse of potential it offers for future productions employing this technique.

While parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.

This is a dark comedy; the tone is such that it benefits from Jack Black emphasizing the less appealing aspects of his personality.

Predestination is science fiction for a thoughtful crowd. This isn't an action oriented film nor should it be mistaken for a blockbuster.

Volume 2 can claim to be bigger and better than its predecessor, although it still suffers from some of the narrative sleight-of-hand issues that kept Guardians of Galaxy from achieving greatness.

It's still a lot of fun, and I welcome any film that keeps me entertained for nearly the entire running length.

It's pretty much assumed throughout art and literature that the collapse of civilization will result in the rise of barbarism. That assumption underlies Mad Max, where the strong prey on the weak, and Max steps in to be the equalizer.

The movie that "Mars Attacks!" wanted to be, but wasn't. This is a snappy, clever, often-funny motion picture that provides the perfect blend of science fiction-style action with comic dialogue.

Pig in the City has been designed with the goal of recapturing the enchanting feel of the original while taking the story in new and different directions. It succeeds at both aims, standing as a worthy sequel to one of the decade's most innovative family features.

The characters in Brick Lane must define themselves and determine where "home" is before they can move forward, and that dramatic conflict lies at the heart of this motion picture.

Its plot-by-numbers story doesn't offer much in the way of surprises, and it doesn't have the emotional power of a Leaving Las Vegas or the euphoric quality of The Brothers McMullen. But Sabrina is fun in its own way, and, though clearly flawed, it nevertheless offers two hours' solid diversion (the overlong running time, by the way, is one of those flaws).

Casting helps the film work. Uma Thurman is among the few actresses who can pull off this role: the hot, buff, slightly deranged superhero and her dowdy, un-sexy alter-ego.

The relentless pace, which flags only occasionally, and entrancing storytelling make this follow-up an even more satisfying experience than the one provided by the 2022 production.

Regardless of the medium, this is an effectively brutal story of swords, sorcery, demons, and heroes, with an Oedipal hint or two thrown in for flavor.

When it comes to mockumentary parodies, no one does it better than Christopher Guest.

Westerns often take themselves seriously and, while Appaloosa is no "Blazing Saddles," there's a refreshing vein of understated humor running throughout the production.

It’s made with families in mind – the material will resonate with children and parents (thankfully) will be sufficiently engaged not to wish to be elsewhere. Unaccompanied adults, however, may not be quite as enchanted.