Emma lacks the depth of passion present in the other Austen films, but, in large part because it's trying for something lighter and breezier, it's still fun.

Age of Ultron disappoints not because it's irredeemably bad but because it fails to achieve the level of its predecessor in nearly every facet.

Captain America falls into the prevalent pitfalls of origin stories. So much time and effort is expended explaining how the protagonist gains his super-powers (and exploring his initial usage of them) that there's not enough opportunity to develop a compelling storyline beyond his "baptism."

Brian and Charles is a pleasant diversion, offering a few hearty chuckles along the way to an uplifting ending.

Not everything in City Island works - some of the secrets are obvious plot devices - but, in terms of feel-good, undemanding entertainment, this is as good as anything I have seen thus far in 2010.

Missing works well enough as a popcorn flick that doesn’t demand much in the way of concentration. That makes it a solid throw-way that offers a couple hours of forgettable entertainment.

Despite the weak dialogue, there are still some laughs to be had. At the end of this long journey, we're rooting for Harry and Erica to be together. For the movie to get us to that point, regardless of its motives and methods, it can't be all bad.

Voyeurism is a favorite pursuit of Americans, and The Girlfriend Experience works in large part because it indulges that pastime. The fascination with the film is that it offers an arm's-length opportunity to peer through a peephole into a lifestyle that will be exotic and alluring to most in the audience.

All-in-all, the intelligence of the approach combined with good old-fashioned zombie blood-and-gore (as opposed to the slicker, sicker torture porn variety) makes this not only the most satisfying motion picture Romero has made in a long while, but one of the best of his career.

The synergy between the root cause of the peoples’ unrest and some of what we see today will not be lost on many viewers; it gives Peterloo a sense of immediacy that some history-based films don’t have. I learned things while sitting in the audience and that’s a claim I rarely make about any motion picture circa 2019.

Mandoki has given us a powerful motion picture. Even those who disagree with the film's politics will be haunted by its message.

May be the best family movie of the 2002 summer film-going season. There's a simple reason for this - the picture seems to have been put together with the recognition that some members of the audience may be above the age of ten.

A compelling motion picture that illustrates an American tragedy and shows the transformation of a decent family man into someone whose struggles with addiction and association with the wrong man bring him to an untimely end, with no hope of retribution.

Dead Again does not come across as a Hitchcock knock-off, but as a motion picture that incorporates familiar themes and approaches while maintaining its own integrity and identity. Not once during the entire production is there an obviously stolen scene or camera angle replication.

By playing things too safe, it loses the power and spontaneity that gave Creed its energy and drive.

When it doesn’t work, it’s because it tries too hard to provoke laughter with clichéd jokes and subpar physical comedy.

The scenario explored by Ben is Back starts out strongly but, with writer/director Peter Hedges unwilling to remain firmly rooted within the hard, mundane rhythms of a family drama, it loses focus and borders on the preposterous as it races toward an improbable climax.

Tennant takes this familiar material and crafts a charming, captivating motion picture.

The Founder represents two hours well-spent, especially for anyone with a fascination for complex characters or an interest in the shenanigans that transformed an unpretentious local restaurant into a global force. You probably won’t ever again think of McDonald’s in quite the same way.

This more lenient attitude toward the original 1998 film has allowed director Niki Caro to be less reverent in her approach. The result is satisfyingly fresh. 2020’s Mulan follows the same general trajectory as its predecessor but numerous changes – some small, some large – have given it a unique identity.

While parts of Moonraker are rather silly (a trend during Roger Moore's tenure), solid special effects, well-executed action sequences, and a strict reliance upon the "Bond Formula" keep this film among Moore's better entries as the British superspy.

In trying to blend a Twilight Zone-ish mystery with a more conventional approach to sorrow and death, Miele crafts a story that is too artificial to work.

Anderson’s performance is the selling point but one can rightly question whether it’s enough to bolster the malnourished narrative.

Satisfies on a visual and visceral level while leaving the intellectual one cold and shriveled and starving.

Sasquatch Sunset is sufficiently different that it’s almost worth seeing for that reason alone. Alas, I don’t think it sufficiently rises above the gimmick of its premise to provide a compelling reason to spend 90 minutes in a movie theater.

This is not a "nice" movie -- it deals with some pretty intense issues (like incest and suicide) -- but it is both bold and inventive, and works because of an unforced approach.

On balance, one could argue that Seven Psychopaths warrants a better rating than a mediocre **1/2, but the aftertaste is so bitter that it diminishes the sweetness that started off the meal.

The movie works in large part because of the depth of Steinfeld’s performance. We haven’t seen such a well-realized character in any of the other Transformers movies.