With respect to Martin Guerre, Sommersby can genuinely be viewed as an homage -- the spirit of the original remains intact, which is perhaps the most satisfying aspect of this production.

At long last, someone has crafted a worthwhile superhero spoof.

Mrs. Parker and the Vicious Circle is a top-notch movie. Everything is in place -- a striking lead performance, solid supporting players, a well-written script, and, above all, expert direction to merge the ingredients.

The bottom line is that viewers who enjoyed Deadpool will almost certainly enjoy Deadpool 2, although perhaps not quite as much.

Despite narrative issues, the film is overall affecting and effective with Ben Affleck’s powerful performance being a driving force.

Although unintentional, Puzzle is what its name implies. Despite an Oscar-caliber performance from Kelly Macdonald, the film is hampered by sluggish pacing and a sterile mood that sucks the life out of various emotionally-charged situations.

This isn’t "Miami Vice." In fact, the intent (perhaps intentional) is for the gritty, noir-tinged The Infiltrator to tilt in the opposite direction.

Pitch Perfect looks, sounds, and feels like pretty much every other movie that features a singing or dancing competition.

Mary Poppins Returns is an imperfect sequel but as a throw-away holiday film designed to provide a family viewing experience, it satisfies a need.

While there is some appeal in exploring how these characters might navigate the Depression and the approach of the Second World War, such arcs could never be properly developed within the confines of a feature film. The Grand Finale should be what its title promises: an elegant farewell.

While a majority of the movie is a rambunctious road trip with a few call-outs to Studio Ghibli (Michael Rooker’s Lutador the giant python would likely earn a smile from Miyazaki), there’s heart in the evolving relationship between Gabi and Vivo and a solid emotional payoff at the end.

Star Trek VI is an improvement over its immediate predecessor, but it lacks the energy and thrills supplied by some of the lower-numbered sequels. The original crew of the Enterprise is apparently fated to fade away rather than going out in a proverbial "blaze of glory."

Tonally, Hope Springs is closer to Alexander Payne than Meyers although Frankel does his best to keep things from turning too dark.

One problem is that none of the characters are interesting and the situation is clichéd.

As Tom Hanks did in "Cast Away," Will Smith pulls off this half-insane role perfectly.

While this version of Les Miserables lacks the cleverness and contemporary spin evident in Claude Lelouch's brilliant 1995 re-interpretation, it is moving and effective in its own right, as a more "straightforward" adaptation.

According to Schnabel, the movie is intended to celebrate the man's life, not to mourn his death, so Basquiat's last days are not shown. It's one of many miscalculations made by the director, because, when the end credits roll, we're left without a sense of closure.

Rogue One is a better movie than The Force Awakens - something that elevates it considerably over its “secondary” designation.

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.

Horror/comedies often tread too far to one side or the other of that fine line; Tremors walks it like a tightrope.

It’s almost worth seeing Last Night in Soho for the glorious heights of the first hour as Wright manipulates the visuals and acts like a master magician in developing his illusion. It’s when the illusion evaporates that the movie disappoints and, because it starts out so strongly, that makes the lackluster final act all the more discouraging.

The movie works not because of twists and switchbacks in the narrative, but because of the skill with which Cortés has conceived this singularly disturbing nightmare.

Chris Cooper, the consummate professional, has no trouble making viewers feel sympathy for a potential killer.

With a minimalist plot, Grace Is Gone turns its primary focus on John Cusack, giving the actor an opportunity to display both his talent and his range.

With The Butler, director Lee Daniels has managed to "Gump" the Civil Rights movement. That's not necessarily a bad thing but there are times when so many famous cameos threaten to become a distraction, especially since they're only tangentially germane to the main story.

This is most definitely NOT a date movie. But if you appreciate films that are more substance than style, that take challenges and don't follow formulas, and that feature Oscar-caliber performances, Closer is not to be missed.

The last scene of In the Valley of Elah may be the most ridiculously ham-fisted and over-the-top moment in all of 2007’s supposed prestige cinema.

The acting is superb across-the-board, with the three younger performers deserving accolades.