Rude, raunchy, uproarious, yet with elements that are surprisingly sweet.

For an American/international audience, perhaps the most important contribution provided by In This Corner of the World is one of perspective.

May be light when it comes to psychological questions, but its detailed accounting of Glass' actions makes for fascinating viewing.

War of the Worlds is not vintage Spielberg, and it's on the grim side for a summer action blockbuster, but it's worth the time and money invested.

The most important part of any thriller - even one as upper crust as this - is the resolution, and that's where Notes on a Scandal falls on its face. The ending itself isn't bad but the single act leading to it is unforgivable.

The Dig feels like a condensed version of a story that, given more time to breathe, might have been fascinating and emotionally effective.

The cinematic equivalent of cotton candy: certainly not unpleasant, but not especially satisfying despite the sweet taste.

For those who enjoy the offbeat, The City of Lost Children is worth taking the time and effort to find.

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").

As much a tale of the patriarchal suffocation of those who break from outdated conventions as it is a love story, the film gains much of its traction as a result of the performance of Kate Winslet, whose nonverbal acting represents one of the finest portrayals of her career.

Gone Baby Gone is powerful stuff - a movie that derives its plot twists from moral conundrums rather than from narrative sleight of hand.

Magic Mike takes itself seriously - not so seriously that there isn't room for a little humor, but this is not an excursion into cheesiness and gratuitous nudity.

Matt Ross’ screenplay occasionally stumbles (especially late in the proceedings) and the ending opts for a too-facile resolution but the director/writer offers moments of genuine power and pathos that make it easy to forgive the missteps.

Hardly a moment of Matilda can be described as either juvenile or condescending, and, compared with many of this summer's so-called mature features, that makes for a delightfully refreshing change-of-pace.

When Getty isn’t on-screen, the movie is a bit of a bore and it doesn’t help that Mark Wahlberg is woefully miscast and the thriller elements are anything but tense or suspenseful.

The devilishly clever script tries a lot of things. Not all of them work, but it's hard not to admire Whedon and Goddard for the attempts. This is definitely not your standard kids-get-slaughtered-by-zombies motion picture.

Although Killer Instinct is the better of the two parts, Public Enemy No. 1 is a worthy continuation, providing closure to a tale that was interrupted just as things were getting really interesting.

Lovers of Dahl's book will almost certainly appreciate what Burton has wrought.

At a time when many mystery thrillers fall apart in the final fifteen minutes, Headhunters maintains its integrity.

Imperfect as it may be, Bowling for Columbine is riveting stuff.

One of those films that does many things right, and that places it among the year's best period pieces. It's a cut above the usual BBC costume drama.

Is it a dark comedy with thriller overtones? Is it a serious message movie presented tongue-in-cheek? Is it an exploitative revenge film that uses a flippant style to undercut the darkness? In actuality, it’s a little of all of these and, although there are times when the movie’s approach seems scattershot and some of the tonal shifts can be jarring, the production as a whole feels rambunctious – a perfect concoction for the #meToo era.

Sabrina is playfully seductive, and will leave almost all viewers, even those as cold as Linus, with a smile on their lips and a warm glow in their hearts. [Review of re-release]

Love, Simon is charming and likeable in much the same way that heterosexual teen comedies can be charming and likeable.

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

Egoyan has taken a seemingly-simple story and woven it into a near-masterpiece, creating images and an atmosphere that establish the perfect backdrop for a tale of loss, grief, and eroticism.

This new interpretation does few things better than the original, and many things worse.

A Man for All Seasons offers an engaging, if somewhat dry, history lesson leavened with enough low-key drollness and powerful acting to keep it from ever becoming boring.