Technically and thematically, there's a lot in The Darjeeling Limited to arrest the attention. Emotionally, there's a void.

The voice work is on-target - the child actors, none of whom have played these parts before and many of whom have limited professional experience, nail their characters. They sound just like we expect them to sound.

Ronin manages to remain focused on the plot and the characters, even while staging increasingly complicated pyrotechnic set pieces and offering its share of white-knuckle moments.

Solid family entertainment, and it's better than 2006's previous tepid animated releases.

It's nice to see Clooney choosing something offbeat (as opposed to "safe") for his first outing behind the camera. If he continues to develop, he has the potential to become a good director -- he's just not there yet.

Offers a clear-eyed chronicle of a female friendship that is more complex and honest than anything represented in a Hollywood film.

Neither as effective nor as ambitious as Kubrick's masterpiece, but it's still a compelling cinematic experience for those who are willing to abandon themselves to the unforced, measured rhythms of an issues-based motion picture.

Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.

This movie works best as a sleep tonic. Somewhere isn't just frustratingly slow-moving; it's inert.

The relentless pace, which flags only occasionally, and entrancing storytelling make this follow-up an even more satisfying experience than the one provided by the 2022 production.

If not for the contrived resolution, this might have been one of the better little thrillers to emerge from the pandemic. Instead, it feels a little disappointing, if only for the unlikely “twist” applied during the closing moments.

The Book of Life represents Guillermo del Toro's most hands-on foray (to date) into the realm of family friendly entertainment; this is closer in tone and sensibility to one of Tim Burton's offbeat animated films than one of Pixar's more "vanilla" productions.

Cinderella is a wonderfully realized family feature that retains the strengths of its source material while at the same time updating it for today's audiences.

Parts of Ruby Sparks are glowing and gentle. Others are harsh. Still others are wrenching. The transitions are expertly handled, never seeming jarring or inappropriate. If the movie feels like two shorter pieces grafted at the middle, that's an intentional decision. The filmmakers give us something approaching a traditional romantic comedy before deconstructing it.

Although there’s admittedly some perverse entertainment value to be found in this soap-opera derived mystery, the movie never rises to the level of something gripping like "Gone Girl." It’s occasionally fun in a trashy sort of way, but nothing more.

Fiddler on the Roof is not a perfect motion picture - it is too long and there are times when it's obvious that the musical numbers have been pre-recorded then lip-synched - but it represents an enjoyable three hours.

Although The Eclipse is technically a horror film, dealing as it does with issues of the supernatural, it has the heart of a romance and the tone of a drama. It's slow, thoughtful, and melancholy - at times seeming to forget that a ghost story is supposed to be at least marginally scary.

There’s something enormously refreshing about the openness and honesty found in Keith Behrman’s coming-of-age film, Giant Little Ones.

Blink Twice is a deliciously nasty “refrigerator film” – a psychological thriller that holds viewers spellbound while in the theater (even if certain plot elements fall apart upon later reflection – say, for example, when getting a snack from the refrigerator later that night).

A fair amount of the film, especially Downey's solo sequences, appears to have been improvised, and this lends an air of unpredictability to the proceedings.

Like most sequels, it pacifies its core demographic by offering “more of the same.” To that extent, it can be said to be successful.

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.

World Trade Center is Stone's most potent motion picture since "Platoon," and may be the most accessible across-the-board since "Wall Street."

Because Wonder wants to attract viewers of all ages and seeks to provide a “positive” experience, it glosses over the darker aspects that a story of this sort should address. In doing so, it at times feels dishonest and the Pollyanna-ish ending borders on cloying.

Eminently watchable and consistently entertaining...It has a candor that is unexpected and refreshing in a sea of too-often generic teen-themed films.

A firecracker of a story - sharply written, superbly acted, and fast-paced.

The resulting tale of friendship and family touches plenty of crowd-pleasing buttons but comes across as more than a little derivative.

Has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.