There are moments that sparkle, but the whole is not a worthy sum of its parts, and, while much of what Moretti does is interesting, that doesn't mean that it's enjoyable.

With Honeydripper, Sayles has done what he always does: bring together a group of characters and allow us to relish their interaction. His affection for the characters is both obvious and infectious. We like them, warts and all.

Jamie Foxx, compelled to take the role for personal reasons, turns in what could arguable be the best performance of a varied career. (Others might say that the distinction belongs to his work in Ray.)

The characters are interesting and capture our sympathy and, although there are things to criticize about the final forty-five minutes, it brings the saga to a conclusion. There's a lot to like about The Place Beyond the Pines even if it isn't the feel-good movie of the spring.

Notting Hill does an adequate job, but this isn't one of those landmark romantic comedies that dozens of subsequent movies will seek to emulate.

This is one of the best of the subgenre, an action-packed movie that delivers adrenaline jolts with both barrels while not skimping on character development and wry humor.

Despite its deliberate pacing, it moves quickly, in large part because of the extraordinary way that Kubrick builds and deepens the sense of dread. Even seemingly normal and innocent moments - such as Danny tooling around the corridors of the hotel on his Big Wheel (with the sound of the wheels echoing on hard wood and muffled on carpet) - are overshadowed by an encroaching sense of the ominous. Technically, The Shining may be one of the most perfect motion pictures I have seen. It's too bad that the same level of excellence doesn't extend to the performances and screenplay. The Shining is well worth experiencing, but it does not rank as a member of Kubrick's top echelon of cinematic achievements.

The Wrath of Khan is a top-notch, fast-paced adventure that can be enjoyed equally by fans of the series and those who have never seen an episode.

Only now can we truly step back and admire the full tapestry that it has taken George Lucas and his ILM wizards nearly three decades to weave.

Not much happens during the course of the movie but, as with all good dramas, the protagonists are richly drawn and the events of their lives become of interest.

At its best, Bon Voyage, Charlie Brown captures the flavor of the beloved comic strip gang but the stew is overcooked and things start to drag after a jaunty first half-hour or so. Overall, this is more for “Peanuts completists” than those looking to get a quick Charlie Brown fix.

In 2025, Superman feels a lot like many of the other superhero movies out there - fun, frisky, and forgettable.

It’s far less engaging than the recent "3:10 to Yuma" remake and concentrates more on the details than the broad picture.

Gruesomely engaging.

The Italian Job isn't a masterpiece, but it gets the job done.

Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it. Unfortunately, Never Say Never Again is a poor excuse for the veteran actor's return. The humor is over-the-top, the direction is pedestrian, and the storyline drags. Were it not for the simple pleasure of seeing Connery playing 007 one more time, this film would have been nearly unwatchable. All things considered, it's not a very good movie, but at least Connery's charisma salvages parts of it.

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

Too many comedies have become routine and predictable - qualities that don't enhance the potential for good laughs. Neighbors retains sufficient spontaneity to give it a fresh, lively feel.

This is a film of tremendous scope and emotional depth that uncovers the soul of a novel and brings it to life on the screen.

The movie as a whole is a mixed bag. It's overlong and a times sluggish. The fights and battles, designed to give an epic fantasy feel to the movie, are grave miscalculations.

It’s a painless diversion – no more, no less – that gets an injection of energy from the lead actor’s willingness to not take himself too seriously.

Black Widow represents the MCU looking back when it should be moving forward. Everything about the movie seems small, even the big action set-pieces. No doubt fans – and when discussing Marvel, there are a huge number of those – will be delighted to see the mega-franchise returning to the big screen but it would be a fallacy to consider this anything but a low-tier entry.

At its best, this could have been a passable distraction and at its worst, it could have been unwatchable. Barrymore manages to bring it in somewhere in between those extremes.

A compelling piece of cinema.

Lovers of drama featuring quirky characters will find things to appreciate.

Gladiator is designed not just to entertain, but to enthrall. It draws audiences in and immerses them in a reality that is not their own. A boisterous reaction is expected every time the protagonist defies the odds and wins a conflict, or changes the tide of battle in his favor. This is filmmaking on a grand scale.

After the chaos of "Transformers: Revenge of the Fallen," it's refreshing to encounter a science fiction film that respects the intelligence and attention span of an adult.

There's a wit in Segel's writing that marks him as every bit Apatow's equal in this arena.