A lively, workmanlike musical that only occasionally rises to the heights of its 1991 predecessor and frequently coasts on a lower plane.

Ball may not have the answers but he eloquently and forcefully explores some of the potential ramifications. The ending may be too pat, but the journey to get there - bitter, spicy, and poignant - more than compensates for any last-minute fumbles.

Is it a dark comedy with thriller overtones? Is it a serious message movie presented tongue-in-cheek? Is it an exploitative revenge film that uses a flippant style to undercut the darkness? In actuality, it’s a little of all of these and, although there are times when the movie’s approach seems scattershot and some of the tonal shifts can be jarring, the production as a whole feels rambunctious – a perfect concoction for the #meToo era.

Despite being rooted firmly in "chick flick" territory (with a high "cuteness" index), it has the capacity to please to viewers of both genders who appreciate the genre.

The Italian Job isn't a masterpiece, but it gets the job done.

It's funny as hell at times with a twisted sense of humor that one typically expects from the likes of the Coen Brothers and Quentin Tarantino.

The underwater sequences, which are choreographed and directed with great skill, are Thunderball's standout feature... Thunderball is classic 007 -- not the best picture in the long-running series, to be sure, but a more-than-worthwhile diversion for the action-loving escapist in us all.

Seen exclusively through a narrative lens, there’s nothing special about News of the World. However, this is one of those movies in which the simple story is enriched by the elements that coalesce before, during, and after the production.

Music and Lyrics is frequently appealing, often witty, and occasionally funny, but it's not going to convert skeptics and cynics into sentimentalists.

I would classify Charlie Bartlett as a smart teen film. It's more ambitious and overall more successful than its '80s forebears even though the resemblance is unmistakable.

Like "Raging Bull", Foxcatcher is a dark drama masquerading as a sports movie.

Not an indictment of the Catholic Church as a whole, but a thought-provoking look at what can happen when decent individuals are seduced by the power of their position.

With its lack of pretensions, Miss Potter is that rare breed of cinematic animal: a movie whose entire goal is to entertain and perhaps apply a gentle touch to the heart.

The Secret Garden combines drama, fantasy, and a little bit of light Gothic horror (the old house with its strange noises). The film is visually stunning, from the eerie insides of Misselthwaite Manor to the time-lapse photography of blooming flowers. Zbigniew Preisner's score adds to the atmosphere without ever becoming obvious or intrusive.

Of the two timelines, the one featuring the teenage Diana is more involving than the one featuring the adult version. Both lead actresses give fine performances, but Thurman has less material to work with.

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.

For the most part, Walkabout is an involving, occasionally hypnotic, motion picture. Some of the photography, including images of the outback and its denizens, is spectacular.

Visually interesting but offers nothing groundbreaking. The animation is competent but not overwhelming. There's no moment of wonderment.

Despicable Me 2 provides a good bonding opportunity for parents and children with enough palatable elements to please members of both generations.

Downton Abbey is for those who loved the TV series and were sorry to see it go, and there’s nothing wrong with a little fan service for Masterpiece Theater watchers in a day and age when every Marvel film wallows in it.

Tone is critical to a movie of this nature, and Fleischer gets it right.

So what keeps the movie from being boring? Nathalie... is like lewd Eric Rohmer - that is to say that what the characters have to say is INTERESTING.

Brooks' take on the ups and downs of modern romance and the unexpected turns it takes is smart, funny, and (above all) uncommon. It's not hard to recommend this on Valentine's Day or at any other time.

Téchiné's development of Alex and Marie is masterful; Auteuil and Deneuve keep our attention riveted to the screen whenever they're on. And, while the director doesn't succeed in plumbing the emotional depths reached by Ma Saison Préferée, there are elements of Thieves that touch us nearly as forcefully -- those moments just aren't as plentiful.

Manages to remain witty throughout.

Fascinating, garish, and compelling even with an overlong 130-odd minute running time, Benedetta dabbles in some of Verhoeven’s career-long weaknesses while highlighting a great many of his strengths.

Director Jon Favreau keeps the tone light but, aside from the occasional low-key gag or one-liner, the humor is never allowed to upstage the more serious elements.

Not everything in The Wackness works and there are times when the divergent serious/comedic tones clash instead of complementing each other. However, in spite of its flaws, the production gets us to care about the characters and their situations.