Despite an occasional narrative hiccup, this is a rich and moving motion picture.

An atypical Allen film. Some of his usual themes are present - in particular, his neuroses about sex and love - but this movie does not bear enough Allen hallmarks to single it out as his work.

It's quite engaging. It is competently constructed and often compelling, but it will not be mentioned in the same breath as some of its classic predecessors.

Sisu is one of those unheralded films that comes seemingly out of nowhere to grab the adventurous movie-goer by the throat. For a perfectly-pitched 90 minutes, it glories in the excesses of gore and violence with an exuberance rarely experienced this side of Quentin Tarantino.

At under an hour, it could have been creepy and unsettling enough to work without being weighed down by narrative issues. At over 100 minutes, it feels too long and there’s a law of diminishing returns in effect. Once we recognize the underlying dynamic, the movie becomes less of a story and more of an acting/directorial exercise.

When a director can take a reprehensible monster and, over the course of a scant 90 minutes, turn audience reaction from distaste to sympathy, that's the mark of an adept filmmaker. This occurs in Tsotsi.

The best medium in which to view Countdown to Zero is on The History Channel, not in a theater.

The film overflows with quips, irony, and physical gags while at the same time relating a noir-tinged story of seedy corruption set in the neon-saturated underbelly of the 1977 Los Angeles porn industry.

Ultimately, while Wilde lacks the depth and substance of the best biographical features, it's nevertheless a strong enough contender to deserve a trip to the local theater.

There's no denying the film's power of compulsion and the sense that, when it's all over, it means something. Most viewers will be entertained and moved, and some will find their intellect aroused.

Each conversation has at least one memorable line, and it's always delivered in such a casual manner that it blends right in.

There's nothing especially original about Unstrung Heroes, but the story is told with intelligence and sensitivity.

Colossal is 2/3 of a great movie and 1/3 of a mess. Writer/director Nacho Vigalondo is tremendous when it comes to setup and the majority of his narrative but he can’t stick the ending.

As good as the lead actor is, he's not enough to save this picture from landing on the scrap-heap of uninspired, derivative, and grotesquely distasteful character studies. Ferrara is definitely no Martin Scorsese.

This is a rare, "feel good" motion picture that doesn't insult our intelligence while making its play for our emotions.

Monkey Man may be a silly-sounding title but the story it tells is anything but silly.

The core of honesty that distinguishes the production remains unchanged by time, ensuring that, no matter how many years have passed, About Last Night... still works on an emotional level.

Structured as a comedy, albeit a dark one.

Ant-Man and the Wasp offers nothing close to what we have come to expect from entries into the MCU. Plodding, repetitive, replete with technobabble nonsense and lifeless action, this is easily the worst-written of any of the 20 MCU offerings and may be the worst all-around film featuring a Marvel superhero since Sony rebooted Spider-Man.

Grease works as a musical, a comedy, a light romance, and a gentle satire of teenage life during the '50s. In part because of its persistent high spirits, it's a delight to watch, even 20 years after it first appeared on the screen.

It tells its own story and, unlike with "Thor 2" and "Iron Man 3," we don't feel the absence of the rest of the team.

Joe Klein's novel -- is a cynical satire of life on the campaign trail. It's harsh, blistering, and possesses an edge that the film, a warmhearted comedy/drama, lacks.

What sets this apart from its many competitors for teen dollars is that not only does the movie feature a surprisingly edgy and intelligent script, but it offers a group of characters capable of holding an audience's interest for more than 90 minutes.

A smart movie that does not simplify or candy-coat the rigors of the teenage years.

The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.

Motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial.

It makes for a fascinating exploration of the human experience.

While the movie will play as well at home as in a theater, it offers the kind of heart-warming, thoughtful, and occasionally amusing story that’s badly needed in troubled times.