The film offers food for thought, and reminds us that, in any war, one who understands the mindset of his opponent gains an important tactical advantage.

The script is smart and sneaky - by never telling the audience more than is necessary, it develops a keen sense of suspense that persists until the gritty final reel.

Light, funny, and clever.

The obligatory jump-scares aren’t the best and the movie is at times frustratingly underlit, but those things don’t keep the suspense at bay. In the end, however, Wolf Man is a story of sacrifice and love.

Perhaps the best way to describe Booksmart, the assured directorial debut of actress Olivia Wilde, is John Hughes for the 21st century. Although Hughes never came close to the level of raunchiness on display here, when one peels back the layer of vulgarity and R-rated dialogue, the beating heart of an honest teen-oriented comedy can be found.

It takes a confident actor to accept a role like this and to perform it to flawless perfection.

Although it's true that a father/son relationship lies at Sanctum's emotional core, the movie is at its best when it highlights the defiance of the protagonists to yield to despair and give up.

Ultimately, when the end credits roll, we're left with the sense that Star Trek represents a good beginning. As a film tasked with getting all the characters together, re-booting a timeline, and finding a way to return a veteran actor to his beloved role, Star Trek works.

I applaud what Costner has given us with Horizon. This contains many of the things on my movie wish-list with its focus on an original story, diverse characters, and a classic cinematic approach. Problems aside, Costner has me hooked and I’ll be among the first in line to see Chapter 2 when it opens in August.

Kill the Messenger is compelling material but the recognition that the core of the narrative is based on true events gives it additional power.

Anyone who understands what The American offers should come away pleased with the final product.

Bright Star is a nice ode to the poet, the love of his life, and the period in which he lived.

Enjoyable and inviting.

Editing is increasingly a lost art and there are times when Triangle of Sadness might have been more effective had it been presented with greater economy. Stylistically, however, that’s Ostlund. We’ve seen it before and doubtlessly we’ll see it again. There’s enough here to make it worth enduring the length.

This is one instance in which the return of a horror icon has a greater purpose than the exploitation of a recognizable brand. Would that more genre films were as thoughtful and thought-provoking, mixing substance with splatter in a fashion that builds uneasiness on more than one level.

Although it would be fair to say there are “feel good” moments in the movie, the film as a whole seeks to dig a little deeper. It’s not as effective as the effervescently witty "500 Days of Summer," but there are times when it strives for a similar sensibility.

The House of Yes is what happens when a film takes the dysfunctional family melodrama to its farthest reaches. It's a bold, gutsy movie that's definitely not for everyone.

Although Killer Instinct is the better of the two parts, Public Enemy No. 1 is a worthy continuation, providing closure to a tale that was interrupted just as things were getting really interesting.

Joe is a masterpiece of special effects wizardry, looking more real than any giant primate ever to walk across the silver screen. By combining animatronics, computer-generated images, and a man in a costume, Mighty Joe Young creates a compelling illusion.

Perhaps the most compelling reason to see Sunshine Cleaning is the pairing of two of the best and most charismatic young actresses today.

The battle between Max and The Blaster in Beyond Thunderdome may be the best the series has to offer.

In short, by delivering the expected and doing so with style and intensity, it lands in the top tier of the nine Rocky universe movies, although falling short by a few titles from the pinnacle.

Feast of Love's greatest strength is that it's about people and involves universal emotions. It's not great art but it is enjoyable soap opera.

The best Star Trek stories are allegorical - in addition to telling an involving story, they're about something other than going into space and blowing up enemy ships. Insurrection continues that tradition.

The Color of Money plays better when not under the shadow of The Hustler, which is ultimately a better and more compelling tale.

The Old Guard blends the intelligence of a well-written dramatic sci-fi/fantasy tale with the action/adventure of a big budget motion picture.

To date, "The Insider" probably represents the most compelling whistleblower story to make it to the big screen and, although the subject matter is different, Official Secrets generates in the viewer the same sense of outrage.

The overall package, despite suffering from some third-act narrative problems, generally goes down easily and boasts a strong, lived-in performance by Shannon Purser (Barbara from the first season of Stranger Things).