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

After the Sunset is a mess, but it's a breezy, fun mess.

The result, while at times a little too visually chaotic, is bracing.

The Laundromat uses a format not unlike that of "The Big Short" (without Margot Robbie in a bubble bath) to shine the light on the kinds of activities uncovered by The Panama Papers.

Haggis' dialogue is virtually without clunkers, and it is delivered with the appropriate weight by a solid cast. Braff's limp performance is countered by Barrett's emotional riveting one (although he's in more scenes than she is).

This is off-the-beaten-path movie-making that calls attention to itself by how different it is from the cookie-cutter stuff playing next door while never losing the capacity to entertain those who enter this bizarre world.

Rogue One is a better movie than The Force Awakens - something that elevates it considerably over its “secondary” designation.

Memory plays like a blended cop movie/revenge thriller and exhibits the strengths and weaknesses of both. At its best, it recalls the Mel Gibson movie Payback (which was similarly a remake of an earlier film based on book).

Dogville isn't for everyone, but there's some intellectually stimulating conversation fodder for those with the patience to navigate the film's rough terrain.

Isn't an especially good horror movie, it succeeds in enough different ways that such a defect hardly matters.

The violence has the straightforward, unflinching characteristic evident in "Reservoir Dogs" and "Pulp Fiction," although Yakin's dialogue falls considerably short of Tarantino's, both in terms of substance and offbeat humor.

Those expecting an action film may be disappointed by what The Last Duel offers. While the climactic battle is rousing, suspenseful, and suitably brutal, the majority of the film is more about dialogue, perception, and character interaction.

Easy isn't much of an acting challenge, but Washington's mix of charm and intensity creates an appealing personae.

With the exception of a few slow spots, Outlaw King flows briskly. It’s one of the better “Netflix originals” the service has provided and worth the expense of two hours.

The Scent of Green Papaya is made all the more enchanting by its simplicity.

An appealing, offbeat, one-hundred minute diversion for those who really are tired of monsters tearing down buildings and action heroes saving the world.

There is an audience out there for slower, more intellectual thrillers. This is a motion picture for them to discover.

For those who appreciate movies with a bite, Ridicule shows its teeth early and keeps them razor-sharp throughout.

A low-key holiday drama that's refreshing not only because it lacks the big discovery melodrama of most similar movies but because it's entirely believable.

Only a handful of working film makers are capable of presenting the English language with the artistry and rhythm employed here (Tarantino and Mamet come to mind), and the director's approach makes apparently-banal conversations come alive.

With its combination of intrigue, romance, and adventure set against a World War II backdrop, the movie has an undeniable appeal. Flaws aside, Enigma is engaging and ambitious.

Although King’s film may not accomplish everything it sets out to do, it represents an important perspective of a time period whose essential injustices have gained renewed attention some 50 years later.

The production company is Hammer Films, a venerable name in British horror. Responsible for some of the best monster movies of the '50s and '60s, when Peter Cushing and Christopher Lee were a favorite team, Hammer has endured over the years. Now, as then, the Hammer name is an assurance that terror, not soulless special effects, lies at the heart of the production. The Woman in Black bears this out.

The result is an involving experience for all but the most fidgety children and an opportunity for parents to enjoy (rather than endure) a motion picture with their offspring.

Well-made, and it held my attention throughout, but this is one of those motion pictures where it's easier to admire than like the final result.

Mad Max 2: The Road Warrior is a straightforward action/adventure film, filled to the brim with over-the-top chases and stunts.

An emotionally rewarding experience: strong performances from leads Henry Hooper and Mia Wasikowska and a tender love story conveyed with genuine feeling.

An enjoyable, although not ambitious, holiday outing.