Oppenheimer is an indication that Nolan refuses to be pigeonholed as a director. While there’s something to be admired about that, this isn’t a home run. Still, many of the flaws are more than compensated for by the flashes of brilliance and the strength of the central character’s presentation.

It does what all good coming of age movies do, and that makes it a worthy and welcome entry into the genre.

A touching, well-made motion picture whose only real flaw lies in the overfamiliar storyline.

The real reason to see Slam, however, isn't as much for the story as it is for the energy and tone. The moments when Slam soars makes the rest of it palatable.

The movie demands a willing suspension of disbelief and, for those who can accommodate, it opens a portal into a hellish, allegorical nightmare about the placid myth of suburbia gone wrong.

In the final analysis, the movie doesn't offer much about the subject that hasn't been previously explored, but the soil is fertile and many ideas germinate.

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

Shooter does what any good thriller should accomplish - it thrills. It's fast-paced, energetic, and doesn't follow a path that seems pre-ordained from the beginning.

There is a sense of formulaic efficiency here that provides entertainment without soul-stirring depth.

May be flawed, but it's not easily forgotten.

They center on the devilishly clever, exceedingly enjoyable interludes featuring the aforementioned rodent in situations and circumstances that recall the great animated work of the recently departed Chuck Jones.

Despite its themes of terminal illness, dysfunctional families, and the need to heal old wounds, the film spends more time provoking laughter than tears.

Undemanding, light, and enjoyable.

Like a well-made romantic comedy that follows all the rules, Kodachrome engages because the dialogue pops and the actors are sufficiently invested that they give breadth and depth to characters who are, for the most part, underwritten.

Despite following its stage inspiration and bringing structure to Fellini's "8 1/2" (the ultimate source material), Nine still suffers at times from a lack of narrative drive and it doesn't have the surreal, dreamlike quality of "8 1/2" to fall back upon.

Those looking for a clear-cut chronology of how the murders happened are destined for disappointment. Flashbacks of the crime are short and ambiguous.

This movie is no masterpiece, but it is an electric, colorful production that roasts the media and those obsessed by it over an open flame.

Despite having a slim resume (the quirky indie Safety Not Guaranteed), Trevorrow handles Jurassic World like a pro. He hits all the right notes, giving the two-dimensional characters as much heft as they deserve (which isn't much) and handling the action sequences like a seasoned veteran of Hollywood tent pole features.

What really matters in this film are the lead characters - Resler and Russell - who are interesting enough to warrant such a cinematic endeavor. The upbeat film touches on serious issues without becoming lugubrious.

After a few missteps and/or odd choices for the director (including Dumbo and Dark Shadows), Beetlejuice Beetlejuice puts Burton back in familiar territory and, surrounded by past collaborators and a sense of nostalgia, he thrives.

Those wacky Coens are at it again. And those serious Coens. And those loquacious Coens. The Ballad of Buster Scruggs, a paean to pre-revisionist Westerns, allows the Oscar-winning brothers to try out nearly every weapon in their considerable arsenal.

The lack of explosions and gunfire makes this an atypical summer thriller, but its breezy brand of unforced and occasionally self-referential entertainment is a lot more fun than pirates, webslingers, and green ogres.

The Help's most apparent flaw is a tendency to paint with broad strokes. With only a few exceptions, it avoids shades of gray.

Miyazaki may not have achieved the level of "Spirited Away," but he's still ahead of the curve.

Nerve does a better job with its style and pacing than it does with its characters but, ultimately, Vee is likable enough for us to stay on the ride with her. For a late-summer throwaway, the film is surprisingly entertaining.

Many times, films that combine comedy and drama do so in an uncomfortable and unwieldy manner. In Slums of Beverly Hills, the approach is natural and satisfying.

I am by nature a cynic and am easily turned off by manufactured sentiment. I dislike "Terms of Endearment" intensely. That I was fully immersed in this world and invested in the characters’ lives is a testament to the movie’s strength.

While this outing will not challenge the likes of "The Natural" for the title of the best baseball movie ever made, it's a solid effort in its own right.