Green Book avoids sanctimoniousness in presenting this heartfelt, if sometimes familiar, story of mismatched strangers who learn to overlook boundaries of race, sexual orientation, and class as circumstances force them to rely on one another.

The passage of years have shown Out of Africa to be a nice, pleasant (if padded) motion picture that's long on visual and audio poetry and short on substance. It tells a grand love story in less-than-grand fashion but is nevertheless worth seeing because of all the other things it does right.

The actors, especially an uncharacteristically low-key Russell Crowe, are effective in bringing the personalities to life and director Joel Edgerton (who adapted the source material and also acts) avoids the kind of extreme melodrama that could unbalance a project like this.

The Avengers kicks ass.

Damn, is it good to watch a movie that expects the audience to pay attention and that doesn’t pander to the least common denominator.

[The film] occasionally had me convulsed with laughter.

In terms of the balance between narrative, mystery, and razor-sharp dialogue, I was reminded of Knives Out. Very different films in some ways but not that different in their ability to engage, entertain, and not overstay their welcomes.

With impeccable period details, top-notch performances, and the text of one of the 20th century’s most lauded plays, The Piano Lesson represents one of Netflix’s stronger unsung late-2024 drops.

Isn't the best coming-of-age story to hit the big screen, but it skirts new territory, and does so with a flare that earns it a recommendation.

The cast is comprised of unfamiliar faces, which enhances the pseudo-reality of the milieu. The principals - Dane DeHaan, Alex Russell, and Michael B. Jordan - are professional actors with credits (many on television) to their names. But they are not "known" stars and that allows them to be accepted with ease into these roles.

When it comes to Christmas movies, although most are quickly forgotten, a select few go on to become touchstones, beloved and re-watched by families year after year after year. Arthur Christmas may have what it takes to join the latter category.

Into the Woods left me out in the cold. The long-gestating cinematic adaptation of Stephen Sondheim's fairy tale-infused Broadway musical, Into the Woods can claim a clever screenplay and a few enjoyable performances but little else.

Although some of the production's technical aspects remain impressive, the dramatic elements come across as trite and many of the musical numbers are dated. Clocking in at more than three hours, The Great Ziegfeld at times tries the modern viewer's patience.

The movie is fresh, fun, and breezy.

Predestination is science fiction for a thoughtful crowd. This isn't an action oriented film nor should it be mistaken for a blockbuster.

In terms of power and effect, Eyes Wide Shut approaches (but does not surpass) Kubrick's vintage work - it is thought-provoking and unsettling.

The strengths of The Underneath -- its atmosphere and character-centered basis -- are also its weaknesses.

The film contains some of Nolan’s most ambitious action sequences to-date but one wonders whether the plot density – a not inconsiderable obstacle for some who prefer not to devote their undivided attention for 2 ½ hours – might prove to be problematic.

Solitary Man gives Douglas a chance to act, not merely posture or show off for the camera. It's some of the finest, least forced work he has done in years.

Taken as a whole, Shallow Grave is a reasonably enjoyable (for those captivated by this sort of thing) black comedy/noir thriller that justifies at least a portion of the praise being heaped upon it from overseas.

A heist movie in the classic tradition - it details every aspect of the caper, from its genesis to its aftermath. The fact that there's political intrigue and espionage swirling around the edges only makes it more fascinating.

By offering opportunities to laugh, cry, and cheer, Little Voice satisfies in a big way.

So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.

When I say that Parker is a master manipulator, that’s meant as a compliment of the highest order. He gets us into this story and puts us unequivocally behind Nat.

Spider-Man: Far from Home works best when viewed as an epilogue to "Avengers: Endgame" (and, by extension, the entire MCU multi-film arc to this point) instead of a stand-alone adventure.

Everything (not just the flesh) is vibrant with life.

As with all of Berg’s films, Patriots Day does an excellent job with sets and locales and is compulsively watchable.

Moves slowly -- it's an unhurried, talky affair that consists primarily of members of the small group of characters interacting.