While it’s easy to quibble about the choices of omission and inclusion made by screenwriter Tracey Scott Wilson and whether a more adventurous, unconventional approach might have been a better fit for the central character’s personality, Hudson renders such criticism moot. Her performance as Aretha Franklin is more than worth the price of admission.

On balance, more of the movie works than doesn't, but this isn't 140 minutes of unqualified successes.

An infectious mix of romance, mystery, and magic.

Despite the many laughs Love and Death offers, it never takes cheap shots. It has a vibrant, beating heart - and that makes the comedy all the more worthwhile.

Although the plot rarely excels, the actors bring enough to their roles to transform this motion picture into a satisfying weeper.

There's something to be said for the power of a classic, even if it has been given an imperfect makeover.

Holofcener has an ear for dialogue, and, as is often the case with the best character- centered films, a chief pleasure is simply enjoying what the participants have to say to one another.

The kind of movie where it's necessary to put aside pretensions and enjoy the product on its terms, with all the sexiness, violence, gore, and camp as part of the parcel. This is three-plus hours of gleeful-but-guilty escapism.

The biggest weakness of the novel is characterization, and the same flaw is fully evident in the screen adaptation.

For two-thirds of its running length, Zack and Miri is vintage Smith - profane humor that knows no boundaries and obeys no rules. What's most amazing about Smith's barrage of hard-R jokes isn't the range of subjects he covers, but how few of them "miss."

Doesn't have any pretensions. It is what it sets out to be: an effective piece of big money, early summer entertainment designed to blow viewers away.

It's an uplifting motion picture that will bring smiles to faces, and Boyle's trademark irreverence keeps the feel-good experience from becoming too saccharine.

The supercharged CGI effects are fine and the battles are eye-popping, but the character interactions make No Way Home work.

It’s breezy and fun and, like its predecessor, relies more for its appeal on nostalgia and familiarity than a strong narrative thrust.

Will Smith gives his all in a role that requires him to undergo a subtle physical transformation, adopt a credible Nigerian accent, and provide a controlled, modulated performance.

A lively, crowd-pleasing story with heart to go along with the glitter and glitz, it’s better than a lot of what’s currently available.

Abetted by a strong lead performance from actress Felicity Jones, the film stands as a monument to gender equality at a time when that subject has become a hot-button issue due to the upheaval associated with the “#metoo” movement.

The story is quirky and offbeat but the dialogue and acting set Joy up as an engaging late-year repast.

With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.

A bloody fairy tale with no moral and a lot of juice.

There are times when Brideshead Revisited shows its seams. For those with an affinity for this kind of movie - and you know whether this applies to you - Brideshead Revisited is a worthy, although not superior, motion picture.

The Paper is a crowd pleaser, and, regardless of any viewer's experience (or lack thereof) with the behind-the-scenes wrangling that goes on in newspaper offices, the story is affable and entertaining. While there are no startling revelations, the film's atmosphere contains enough strength of realism that more than one viewer may momentarily think of the goings-on at The Sun as they sit down with their morning cup of coffee and look at the day's headlines.

The question hanging over Private Parts' financial success is whether enough non-Stern fans will venture to see what they may view as a "cult" or "niche" film. Most who take a chance, regardless of what prejudices they harbor against WXRK's top personality, will find themselves rewarded by a surprisingly pleasant two hours.

A fun-but-uninspired swords-and-sorcery story.

Here's a pleasant little romantic comedy that doesn't try too hard and has the virtue of doing a few things differently.

The result, for those who can overcome the substantial “suspension of disbelief” hurdle, is engrossing and unsettling. As ridiculous as the premise might sound, the film is not easily forgotten. It lingers.

Admittedly, Mother has a weak beginning and ending, but the material in between is what makes it worth watching. This probably isn't the funniest or most inventive comedy of the year, but it gets high marks in both categories.

Liberal Arts is a parfait - a light, enjoyable concoction that goes down easily but doesn't linger. The movie is great "in the moment" but may be difficult to recall with any specificity after time has elapsed.