Measure of a Man, the sophomore feature effort from British director Jim Loach (the son of the famed filmmaker Ken Loach), effectively captures this difficult-to-pin-down feeling with a largely unsentimental coming-of-age story based on Robert Lipsyte’s novel, “One Fat Summer.”

Although guilty of soft-peddling some harrowing aspects of the experience to achieve the teen-friendly PG-13 rating, Adrift nevertheless gives a flavor of the existential experience inherent in this situation by illustrating that surviving a shipwreck is as much about mental strength as physical endurance and stamina.

Starts slowly, but builds to a satisfying conclusion.

Hitch is 2005's lone legitimate contender for a Valentine's Day movie date.

Despite the cries of "sacrilege" by some Blues Brothers and Saturday Night Live (where the Belushi/Aykroyd act started) die-hards, Blues Brothers 2000 represents a respectable follow-up to a uniquely American classic.

There is sadness and humor here, but all understated.

Matt Ross’ screenplay occasionally stumbles (especially late in the proceedings) and the ending opts for a too-facile resolution but the director/writer offers moments of genuine power and pathos that make it easy to forgive the missteps.

Taylor's approach to this material -- mixing occasional humor with undemanding drama -- works well enough that we don't care about the logical inconsistencies and plot holes. To that end, The Emperor's New Clothes ends up as a pleasant diversion.

Romantic comedies can be like road trip movies in that the journey is often more enjoyable than the inevitable destination. It helps the fantasy when the actors relate to each other in a pleasant, believable fashion. In this case, Kyle Allen and Kathryn Newton interact with sufficient amity to hold our interest, although Newton shines more brightly than Allen.

Overall, the film is smart and engaging, and if it plays a little on our fears of the next big terrorist attack, it does so without feeling exploitative.

Male coming-of-age stories are a dime-a-dozen, but the same cannot be said for the female equivalent, especially when the story is told with intelligence and sensitivity. This makes Ruby in Paradise a rare and welcome change of pace.

In many ways, The Forgiven feels like a CliffsNotes version of a longer, more complex narrative. But, even considering that numerous subplots might benefit from a mini-series approach to the material, the transformation of the central character is handled in a powerful, credible manner.

May not be an absolute triumph, but it's significantly better than just a good effort.

"Capote" is the more intellectual of the two films; Infamous is the more emotional. They exist to complement, not eclipse, one another.

For something billed as a lightweight romantic comedy, What Happened Was... wades through some surprisingly deep waters.

Although it runs too long, it’s nevertheless an enjoyable and satisfying romp through the lives of one woman who makes “being the worst of her selves” an asset.

The film is intricately composed using the shadows created by natural lighting and some of the most astonishing sunsets and landscapes ever captured on screen. Pope's work is immersive and allows viewers to become engaged in a story that occasionally moves a little too slowly.

It is not a step-by-step chronicle of German reunification, but it gives a perspective of the time. It's a bonus that this comes as part of an engrossing and well told story.

Despite its flaws, the movie is compulsively watchable, and few will be bored by it. It's a charming movie that falls short of greatness, but is still worth a solid recommendation.

Best of all, it proves that there are still directors cut from the John Waters mold who aren't content just to push the envelope -- they rip right through it.

BlacKkKlansman comes across as equally entertaining and disturbing, which is most likely what Lee intended.

Let me start by saying that Hercules, Walt Disney Pictures' 35th animated feature, makes for good family entertainment. Good, not great. While this film is capable of providing a ninety minute diversion for both kids and adults, it's a far cry from such recent classics as The Little Mermaid, Beauty and the Beast, and Aladdin.

Director John Dahl has fun with this material, filming the modern-day noir potboiler with such gusto that it's impossible not to fall under its spell.

Sound of Metal tells a story about coping and overcoming while avoiding the narrative pitfall of artifice.

It appears custom-made for a streaming service and will lose nothing from a home viewing. Regardless, with its smart and irreverent screenplay and trio of strong performances, the movie is a winner in whatever circumstances a viewer discovers it.

Although the movie’s foremost goal is to deliver big laughs, it gets points for taking seriously the trauma of parents who, after nurturing and caring for their children over an 18-year period, are forced to let go.

Those who attend this movie expecting to see a superhero smack-down won’t be disappointed, but anyone partial to Captain America’s saga may feel shortchanged.

Although the 1940 landmark may work better as pure family fare, this slightly more mature film (which is by no means child-unfriendly) is artistically and narratively superior.