This is a film of powerful ideas, impressive set design, and compelling performances.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

While this is certainly not the first motion picture to blend drawn creations with real life actors, no movie to date has approached it quite this way.

The twists taken by the narrative, the quality of the performances, the superlative cinematography, and Berri's masterful direction make this one of the best motion pictures ever to cross the Atlantic Ocean.

The problem is that writer/director Paul Feig became too enamored with his storyline which, at best, could be described as a lame James Bond parody.

In terms of storytelling, voice characterization, and visual appeal, Lilo & Stitch seems more like a wannabe production than an actual Disney effort.

This is “more of the same” but, at least in this case, that’s a good thing.

Send Help makes for an interesting counterpoint to Swept Away; the similarities are too frequent to be coincidental. Yet, where the Wertmüller film openly courted controversy for its misogynistic elements, Send Help is a more straightforward, crowd-pleasing endeavor.

Although there are certainly elements of tragedy in the storyline, this is first and foremost a crowd-pleaser. It touches the heart and, in addition to being Branagh’s most personal film, it’s also his most intimate. Unquestionably one of 2021’s most affecting motion pictures.

Can be best categorized as a fantasy adventure. Unlike many animated movies, it's not a musical, nor is it overstuffed with age-appropriate comedy,

It has the audacity that “Primary Colors” should have displayed, but was afraid to. Bulworth is willing to openly offend to get its point across. That's something that “Primary Colors” was nervous about doing.

When focusing on the micro-verse inside a news van and the four passengers taking the trip, Civil War does a good job dissecting the damage done by a desensitization to violence. But it botches the background and features an ending that belongs in another movie (preferably one featuring Gerard Butler).

There's something delightfully old-fashioned about Steven Soderbergh's Side Effects. It's the kind of thriller that Alfred Hitchcock might make if he was still alive and active today.

You don't just watch Titanic, you experience it.

Blindspotting is a compelling film with much to say about subjects like gentrification and race – things it approaches with a mix of wit and seriousness. However, when it comes to punctuating a core theme of the Black Lives Matters movement, it falls short of the gut-punch delivered by a film such as "Fruitvale Station."

The rarest of movies - a literary multi-character drama. From the erudition of the voiceover narrative to the three dimensionality of the characters, Field's film is the closest it's possible to get to a book without reading one.

T2 features bigger, bolder, more energetic action sequences than its predecessor.

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.

Though there are some narrative hiccups, its emotional core elevates it beyond mere cringeworthy gore.

We've seen this story so many times that it's starting to wear thin. In many ways, Kicking and Screaming is mildly enjoyable, but all it really does is go over old ground with new characters.

Those who attend this movie expecting to see a superhero smack-down won’t be disappointed, but anyone partial to Captain America’s saga may feel shortchanged.

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

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

It's a simple story told well, with plenty of lighthearted moments and kernels of thought-provoking material, but little to really excite the cinematic appetite.

An enjoyable, although not ambitious, holiday outing.

To reboot the X-Men franchise, director Bryan Singer, who first gave these characters screen life fourteen years ago, has crafted a continuity-lover's nightmare.

Although there are a few missteps, the movie boasts a deliciously dark tone that makes for compelling viewing.

While the experience it offers may not be to everyone’s taste, it is off-the-beaten path and effective for what it attempts to be.