Rust Creek, an uneven but ultimately satisfying thriller from indie director Jen McGowan, seamlessly blends horror and thriller elements across its 108-minute running time.

Ultimately, this may be the closest we'll ever get to understanding how Mike feels about himself, and there's value in viewing that assessment.

Gripping and compelling, and doesn't make us wish we had checked our brains at the theater entrance.

As a means to finally bring the Fantastic Four into the MCU, First Steps is as successful in its own way as Spider-Man: Homecoming was. In addition to representing an apology for the previous big-screen botching of Galactus, the film puts all the foundational pieces into place.

Also, there's more action in Goldeneye than in previous 007 entries -- enough to keep a ninety-minute film moving at a frantic pace. Unfortunately, this movie isn't ninety-minutes long -- it's one-hundred thirty, which means that fully one-quarter of Goldeneye is momentum-killing padding.

The film’s predictability is offset by what Hart and Cranston bring to the proceedings.

Freedom Writers delivers the expected messages about hope and the ability to change one's destiny, and does it in a manner that it is emotionally and intellectually satisfying.

Obvious technical considerations aside, it holds up surprisingly well after so many years and is not hard to recommend for anyone with an interest in film history and World War I.

Some will classify Let the Right One In as a horror movie, and I suppose that's technically accurate. To me, however, this is much more of a coming-of-age/friendship movie.

Dustin Hoffman and Emma Thompson bring credibility to Last Chance Harvey merely by their presence. The result is a holiday parfait.

Hardly a moment of Matilda can be described as either juvenile or condescending, and, compared with many of this summer's so-called mature features, that makes for a delightfully refreshing change-of-pace.

Star Trek IV, while not a superior effort, is an effective and enjoyable sample of entertainment -- not good science fiction, but a lightweight piece of comic fantasy utilizing characters so familiar that they feel like old friends.

Mary Shelley's Frankenstein may not be the definitive version of the 1817 novel, and the director likely attempted more than is practical for a two-hour film, but overambition is preferable to the alternative, especially if it results - as in this case - in something more substantial than Hollywood's typical, fitfully entertaining fluff.

The teaser scene is phenomenal. It depicts the escalating tensions that accompany being one of the men in the final chain that leads to a nuclear launch. In this case, it's just a drill, but the men (played by Michael Madsen and John Spencer) don't know that. They must confront the morality of obeying an order that could lead to a worldwide holocaust. It's a taut scene that is suffused with verisimilitude.

This is as dark as Zwigoff has gotten - arguably even darker than "Bad Santa." And, while it's legitimate to label Art School Confidential as a "comedy," the movie is more clever than it is funny.

The movie is deliciously creepy even if it does exhibit some issues that keep it from being a top-notch example of "things that go bump in the night" horror.

The film is worthwhile primarily for the fun, breezy first hour. After that, it's a case of watching to find out how things turn out.

Attempts to inject a little humor via the antics of the dwarves don't work, especially since one of the little people is killed early in the proceedings. No one's going to be singing "Hi ho! Hi ho! It's off to work we go!" after that happens.

There's nothing edgy or groundbreaking about The Matador, but it's funny, touching, and ultimately endearing.

Christian Bale continues to amaze with his ability and range.

My sense is that, while The Best of Enemies may be met by stinging criticism from the far left and far right (for different reasons), those with centrist leanings will appreciate it for what it is (as opposed to for what it isn’t).

With some surprisingly strong character interaction, there's a lot to like about this movie, at least for those willing to look beyond all the bloodshed.

The book is richer, but this is a solid, endearing telling of the same essential story, and is well worth the price of admission for those who appreciate romantic fantasy.

The result, although uneven, is generally enjoyable, especially for those who attend with the right mindset. Character and narrative are secondary concerns for a movie primarily driven to provide a Valentine to '60s rock-and-roll.

It's an entertaining diversion - a good way to pass a couple of hours as late summer evenings lengthen - but not much more.

Strong acting is one of the film's hallmarks. It has been a while since Samuel L. Jackson has given a performance with this much intensity.

There's little in the basic narrative to grasp and hold the viewer's attention, but the way the lines are delivered and the charisma of the performers lend charm and substance to the overall viewing experience.

This is what serious horror is like and it’s not for everyone.