Gerwig transforms the ordinary screenplay into something that is by turns charming, touching, and funny.

Although the forced ending, which seems deigned to create an unnatural moment of triumph, weakens the climactic catharsis, it doesn't diminish the naked honesty which forms the foundation of Dolores Claiborne.

Most of Sing's creative energy was invested in the musical numbers and, fortunately, that's where it shines. But the film really can't go toe-to-toe with heavyweights "Zootopia," "Moana," "Dory" or even the little-seen but superior "Kubo."

As biographical crime thrillers go, Killer Instinct is a worthy entry to the genre, although the incompleteness of the story makes it difficult to evaluate on its own. The movie needs to be seen in the context of a greater whole for it to be fully appreciated.

On balance, it's a good movie but not a great one. Probably the only reason it's getting North American distribution is because of the involvement of Liam Neeson.

With Legend of the Sword, the filmmaker isn’t remaking or adapting anything. This is his version of Arthur’s origin story and, if nothing else, it’s kinetic and attention-grabbing.

It tells its own story and, unlike with "Thor 2" and "Iron Man 3," we don't feel the absence of the rest of the team.

The decision to partially reinvent what a Predator movie can be is what makes Badlands work. While it leans on familiar sci-fi tropes and doesn’t exactly revolutionize the genre, it feels fresher than the other sequels and far less beholden to the original.

The movie is consistently well-acted and features a gallery of characters so affable that it's difficult to actively dislike any of them, or, for that matter, the film as a whole.

There is a wealth of authenticity in the feel of the movie, as if Levine and/or his writer have endured some of this stuff.

A curious mix of the campy and the intelligent, of high concept and low psychology. In spite of these contradictions, or perhaps because of them, it works. This is a tense and engaging thriller.

Although A United Kingdom has a social agenda, it is first and foremost a love story. Like "Loving," it’s about how the affection between a man and a woman of different races affects not only their immediate social circles but has ripples that wash over the entire world and impact history.

It falls short of brilliant but it's a lot more daring than what passes for "dark comedy" these days, and it reminds us that "feel bad" comedies may not always be as funny as "feel good" ones but, when they work, they can ultimately be more satisfying.

To be savored for its unhurried approach and simple fish-out-of-water story that favors individual character-driven moments over dramatic plot developments.

For the most part, this is a memorable portrayal of a woman who doggedly pursued, and died for, an ideal.

Regardless of how you look at Oldboy, it's unlike anything you are likely to have seen before.

Into the Storm is as straightforward a disaster film as you're likely to find.

This is a fine tale of families and secrets, and its seemingly cold exterior gives way to something unexpectedly warm and soft inside.

The Adventures of Priscilla, Queen of the Desert is about the most fun you can have with three guys who like to dress up as women.

Lacking even a line of dialogue and using hand-drawn images, The Red Turtle is more about feel and look than narrative. The story is a means to convey illustrations and emotions.

A case can be made that the movie is so enamored with this aspect of its approach that it fails to connect on an emotional level. Shutter Island addresses some powerful, disturbing concepts but, despite effective performances by the leads, the movie's psychological impact is minimal.

Although there are times when the dialogue is downright insipid, it contains enough wit to provoke frequent chuckles (and maybe even a few guffaws – Andy Garcia has a laugh-out-loud one-liner) and the movie quadrupoles down on the romance element.

Spielberg has always shown a penchant for overt manipulation, but nowhere is this more obvious than in E.T., where he pulls out all the stops in an effort to bleed tears from the eyes of every audience member. It doesn't take a cynical nature to recognize what the director is doing. [2002 re-release]

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.

Like "The Apostle," it exists off the beaten path and will not satisfy mainstream viewers. Yet, for those who do not demand a firm adherence to formulas and genre-driven expectations, this movie offers the chance to see something a little different.

Produced during the pandemic and available on Netflix, the movie is well worth a look both as an exploration of love’s bitter aftermath and as an example of how art can bloom even in the most challenging circumstances.

What if Quentin Tarantino collaborated with John Hughes on a teen comedy? Superbad is a decent approximation of what the result might be.

Visually, X2 is a sight to behold, with impressive special effects and a dynamic sense of place.