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.

Although parts of Emergency can feel like a bizarre cross-pollination of After Hours (Martin Scorsese’s 1985 chronicle of a nightmare road trip) and Weekend at Bernie’s, there’s more going on here. Despite the comedy, the screenplay poses some serious questions that can’t simply be brushed aside.

Designed primarily for those who are intrigued by theater, curious about Welles, or some combination of both.

The problem with Rocket Science is that the character at the center of the drama isn't very energetic or, truth be told, interesting. This makes it difficult at times to remain engaged in the unfolding tale.

The movie not only represents the best effort from Eastwood since his Oscar-winning "Million Dollar Baby" but the finest acting we have seen thus far from two-time nominee Bradley Cooper.

Suffused with satire, wit, and the dry, tongue-in-cheek flavor of comedy one rarely finds in American productions, this stop-motion animated excursion pokes fun at pirate conventions while representing icons Queen Victoria and Charles Darwin as a bitch and a twit, respectively.

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.

While the Peter Parker stuff is enjoyable, that’s only part of what the movie is giving us. Every time Peter puts on the Spidey suit, we know exactly what we’re going to get, beat-by-beat.

An amazingly over-the-top anti-racism parable but, despite its obvious shortcomings, it is nevertheless effective and affecting.

The Killer is the kind of production that works both on the big screen and the smaller one (where most people will see it). It engages in a typically perverse Fincher fashion, exerting its pull as much by the development of the plot as by Fassbender’s magnetic presence, and proves to be one of 2023’s most disturbing, stylistic successes.

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.

Isn't an especially good horror movie, it succeeds in enough different ways that such a defect hardly matters.

As a well-acted standard-order bio-pic, Ferrari delivers but as something more, it falls short.

Visually, it's more impressive than Disney's “Toy Story.”

The movie's anti-climatic resolution in concert with the holes left by the occasionally untidy script result in The Lookout not living up to its promise. Compared to some of Frank's past projects, this is a tepid offering.

Seen exclusively through a narrative lens, there’s nothing special about News of the World. However, this is one of those movies in which the simple story is enriched by the elements that coalesce before, during, and after the production.

Although Big is generally lighthearted, it rarely plays for stupid laughs. There are a few of these, but the film avoids sacrificing character integrity for the cheap guffaw.

For a viewer in the mood for something rude, crude, and lewd, it would be difficult to find a more satisfying food.

The movie, which features numerous dead-end side-stories and glaring plot holes, is short on narrative and long on allegory.

The Dirty Dozen flows nicely, keeping things moving and drawing the audience along in its rapid current

The real reason to see Slam, however, isn't as much for the story as it is for the energy and tone. The moments when Slam soars makes the rest of it palatable.

It’s a surprisingly flat bio-pic of King’s life between 1972-73 with little attempt to make Riggs into anything more than a two-dimensional caricature/foil.

Ghost Protocol is big and brassy, doing many of the things its predecessors did but, in the words of Nigel Tufnel, turning them up to "11."

This is a dull, lifeless production that will find favor only with those with an insider's perspective or who feel compelled to praise the acclaimed director's every film, no matter how out-of-touch and pretentious it may be.

Sluggish, conventional, and almost completely lacking in energy.

Cavalcade's anti-war message is presented with more subtlety than that in Wings and All Quiet on the Western Front. The story is more concerned with the potential of death than it is with actual tragedy - how those left behind live in a constant state of anxiety, never knowing if their loved one is going to appear on a casualty list.

Robert Downey Jr. is perfect as Harry. He brings the right mix of cynicism, self-doubt, and unpretentiousness.

Only a director in complete control can fashion something so effortlessly chaotic. What’s Up Doc? is one of the signature comedies of the 1970s whose throwback mixture of madcap hijinks and rat-a-tat-tat dialogue still works for a generation twice removed from its influences.