It's a calculated formula for success, and makes for entertaining viewing, but those expecting something with the spark of the first two pictures may be disappointed.

Although there are a few missteps, the movie boasts a deliciously dark tone that makes for compelling viewing.

One of those films that does many things right, and that places it among the year's best period pieces. It's a cut above the usual BBC costume drama.

An Unfinished Life isn't original, but, for those who enjoy this sort of drama, it's an opportunity to remember how, in the right circumstances, on-screen characters can touch our hearts.

Although The Night of the Hunter offers many pleasures for students of film history, its ability to captivate a generation for which its qualities are so foreign is as much an indication of how degraded film literacy has become as a counterargument to the movie’s timelessness.

Hamnet ultimately feels like the sort of mid-budget literary drama that used to be commonplace from the late 1980s through the early 2000s but has since become rare. It proves a better fit for Zhao than the blockbuster ambitions of Eternals: the intimate scale and emotional concentration suit her strengths.

Overall, although this version of Speak No Evil doesn’t leave as deep or lasting an impact as its predecessor, it represents another in the seemingly-endless Blumhouse stable of low-budget films to warrant a recommendation for those who appreciate the genre.

It's a solid performance from Leonardo DiCaprio, who has grown into this sort of "gritty" role and is more believable after having been seen dancing on the dark side in "The Departed."

There's something very old fashioned about the core ingredients of Wreck-It Ralph; these blend well with the "hip" elements. Still, I can't help but wonder whether this is all just one big product placement for something aimed at the home video market. It seems like a game designer's wet dream.

At times unremarkable, at times weird, and at times tedious. At worst, it can be said that Kaufman has made a discussion-worthy animated feature.

This is one of those films where the comedy prefers to accentuate characters’ deficiencies than pursue slapstick. Because of this, Buscemi, Palin, Tambor, and a deliciously pompous and over-the-top Jason Isaacs (as Field Marshal Zhukov) shine.

If someone was going to make a Hunger Games prequel, this is about the best one might hope for.

A fast-paced, entertaining motion picture that replaces gritty tension with a lightly-dramatic character interaction that occasionally borders on straight comedy.

Although not as good as the first Sisu—which made my 2022 Top 10 and has since become a cult favorite—Road to Revenge is a worthy follow-up.

While this particular film doesn't boast any radical or surprising ideas, it combines numerous familiar plot elements into a suspenseful, entertaining whole. Best of all, perhaps, is the realization that some thought went into writer/director David Twohy's script. This is not a dumb movie; in fact, with its heavy reliance upon real science, it's startlingly credible.

12 Strong represents a recent war as depicted on screen in an old-fashioned way.

As was true for "In the Company of Men," LaBute doesn't care if viewers are offended. Supported by a fine group of actors, he tells the story without compromises, and that gives us a refreshing alternative to multiplex fare.

With an unnecessarily protracted running length of more than 140 minutes, Rio Bravo at times moves too slowly for its own good but the climax is as rousing as that of any Western made during the decade when the genre was at its peak.

Offbeat, daring, and the kind of offering Hollywood will never come close to embracing.

Manages to entertain, even though it stays on the surface. It fails to deliver the hoped-for knockout, but also avoids the pitfall of an early-round collapse. While not attaining the greatness of its subject, it rises to a level somewhere above mediocrity.

Lady Vengeance contains violence (some extreme), but it is not an action film. It is deliberately paced, allowing the audience to have time to reflect upon what's happening. And the comedy is of the gallows variety.

A delight for anyone who loves to absorb dialogue. The movie is almost all talk and no action, and possesses the "feel" (although not the pedigree) of a stage production translated to the screen.

There's a lot of fun to be had in watching The World's End and, surprisingly, more thematic depth than one might expect. The humor, true to its British roots, may baffle some Americans but those who "get" it will laugh quite a bit.

Brazil can be enjoyed without knowledge of the behind-the-scenes circumstances but the rich irony of the parallels between Gilliam and his fictional creation, Sam Lowry, add a layer of appreciation to the project that it otherwise lacks.

For what it is, Assault on Precinct 13 delivers. It's not great art, but, for B-movie fans and those looking for a mid-winter jolt of energy, it's good fun.

An enjoyable experience.

The Bourne Ultimatum provides a lot more suspense and tension than "Transformers" could hope for.

Den of Thieves delivers an above-average cops-and-robbers heist film.