Planes, Trains, and Automobiles is one of those rare movies that manages to mingle outrageous comedy and light drama in such a way that we aren't repulsed or offended by its simplicity and occasional mawkishness. It's a fine cinematic treat that doesn't demand much from a viewer, but gives back a lot, both in terms of laughter and good feeling.

While Chris Brancato's script doesn't reveal anything new or surprising (students of history and fans of "The Cotton Club" already know how this film ends), it's a competent piece of storytelling that incorporates elements of human interest with the threat of escalating violence.

Although the narrative trajectory may be familiar, the specific path taken by director Andrew Patterson feels fresh.

While this is probably the actor's best turn since Rocky, and he does a credible job that may earn him the opportunity to do more "serious" work in the future, Stallone's performance is outshone on all sides. That's not a knock against him; it's an acknowledgment that the supporting cast is about the best that it can be.

It is being touted as “Miike’s 100th film” and, while one could argue whether the numbering is strictly correct, it’s close enough to be reasonable. Here’s to another 100.

A fun, fantastic adventure, but, watching it, I had the sense that it could have been even better than it is. I was diverted and entertained, but never truly absorbed.

Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.

Gets the most bang for its buck by letting the camera linger on the spectacle, and allowing tension, not flashiness, to be its hallmark.

Final Account may ultimately be more important for the voices it immortalizes than for its worth as a conventional documentary.

Those who enjoy gritty, angry Westerns (especially those set in the Australian bush rather than along the American frontier) will find much here to their taste, none of which is in need of additional seasoning.

A blistering satire of feel-good sports movies, this film makes its mark via the most direct route: it lampoons by adopting the tried-and-true "straight" formula and tweaking it a little.

A wonderfully nostalgic, and occasionally insightful, window into the recent past.

By limiting the film’s time frame, the narrative is allowed to breathe and, as a result, we get a distinct snapshot not only of the main character but of the setting that resulted in his becoming historically important.

What's missing from Mockingjay - Part 1 is a strong through-story. The previous films were characterized by engrossing, well-constructed story arcs but Mockingjay - Part 1 meanders.

This is not Schrader's finest work. The script is not tight, the ending disappoints, and there's a little too much drawn from American Gigolo. But there are some great one-liners, compelling actors, and well-developed characters.

As intense and as harrowing as any British thriller to emerge from the east side of the Atlantic in recent years, and there are some good titles vying for that distinction.

Although This is 40 is too long and at times over-the-top, its essence is grounded in everyday moments and emotions that will have viewers nodding with understanding and recognition.

This is a creepily effective excursion into terror that, if watched alone in the dark, may generate post-movie jitters. It’s a quietly intense alternative to generic horror movies that provides its share of scares without the need to splatter the screen with blood and viscera.

An unabashed excursion into feel good territory.

While Ernie's on-field accomplishments were extraordinary, it was the environment in which he struggled to achieve them that makes him the worthy subject of a motion picture.

Obviously not a movie for everyone, Man Bites Dog boasts graphic displays of murder and rape. There's very little of the human body -- inside or out -- that isn't shown at one time or another during the course of this movie. Nevertheless, if you do venture to see Man Bites Dog, you would have to be made out of stone to miss the visceral, sardonic impact of a highly-unusual film.

It's an unsettling piece that reminds us how even monsters aspire to living the American dream.

Sully proves to be by turns engaging, exhilarating, and nail-biting.

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.

In terms of overall visceral impact, The Foreigner is perhaps not as satisfying as a John Wick or the aforementioned Payback because it’s a more serious, complex movie. Nevertheless, it’s well-made, nicely paced and accomplishes what we expect from this sort of film.

Enjoyable for a movie in which pretty much nothing happens.

The film's emotional truth and honesty allows us to forgive a great many flaws.

There’s more to this movie than offering fans an opportunity to wallow in the past. It gives the most complete portrait we’ve seen thus far of Nimoy, warts and all, as presented by the man who came the closest to knowing him.