Although Sam Raimi's direction is generally solid (and, in some scenes, flawless), the film's middle act has instances when it seems repetitive and exposition-heavy.

trong on characters and relationships, but weak on some of the details that would elevate it from merely "good" to "great."

The screenplay is quirky enough to resemble an unfinished Coen Brothers narrative but mainstream enough to appeal to a broad audience.

It doesn’t offer a story of any surprising depth or emotional strength. It’s straightforward which isn’t necessarily a bad thing but the limitations of this telling of Colette’s life is defined by a familiar quality.

Guy Ritchie’s name not withstanding, there’s little here with strong mass appeal – not enough mind-numbing action; too much dwelling on a recent, tragic, failed war; and a muted catharsis. It’s also one of the best things Ritchie has done since his early years (only Lock, Stock is unequivocally better) and deserves a viewing when MGM brings it to streaming.

The Daytrippers is at its best using parody to paint an incisively humorous picture of a modern American family. We see here just how dysfunctional the typical nuclear family can be, and that "family values" aren't always the solution. Even though The Daytrippers is played primarily for laughs, there's a lot of truth lurking beneath the comic exterior.

It’s not conventionally frightening nor does it offer a cavalcade of artificially crafted jump-scares, relying instead on a deeper, more primal form of terror built on a foundation of slow-burn tension and a surfeit of atmosphere.

While "quirky" is a good descriptor for the production, Lars and the Real Girl isn't so bizarre that mainstream movie goers will reject it. This is an offbeat independent production that could become one of those big little fall surprises.

The acting is uniformly excellent, with Kyra Sedgwick and Fairuza Balk in particular deserving to be singled out for praise.

The appeal of Drive Angry is much the same as that of "Piranha": a willingness to revel in absurdity to the degree where the exhilaration is infectious.

Famuyiwa dabbles in the teen sex comedy, the urban gangster story, and the fish out of water scenario. He gives us suspense, gross-out humor, a cute romance, and a sermon about the status of race in America.

The grandeur of Big Sky Country, captured with majesty and elegance by cinematographer Giles Nuttgens’ lenses, provides the backdrop for an intimate story of tragedy and reconnection that is no less riveting than the terrain where it transpires.

It's an enjoyable and unpretentious perspective of life that reminds us how important and rewarding the little things can be.

The film tells a compelling story with many of the elements that audiences find appealing. However, 65 years later, there’s little about From Here to Eternity to differentiate it from other well-made productions of its era.

The Bone Temple doesn't work entirely well as a stand-alone, but as part of a larger whole, it is a very good continuation of the ongoing tale. It leaves me hoping for a successful box office run so we can see how the whole thing ends.

To be sure, A Little Princess has a few missteps. For one thing, Miss Minchin could have been played with less villainy, but younger viewers will probably appreciate the one-dimensional nastiness. There are also a few moments of overt sweetness, but these are easily forgiven. Actually, there's very little this movie has to apologize for -- it's the rare kind of picture that can be enjoyed by viewers of eight, eighteen, and eighty.

So what’s the final verdict? A mixed bag. It’s a good start to a new trilogy but hardly the hoped-for masterpiece. It’s a solid space opera spectacle with enough nostalgia to overpower even the most hard-hearted child of the ‘70s and ‘80s but it relies a little too much on recycling old plot elements.

Having funny lines and amusing gags is only half the battle. The rest is in the delivery, and that's where the trio of Martin, Latifah, and Levy excel.

If there's an argument against the film (and, admittedly, it's not much of an argument), it's that the movie may not be suitably childish to appeal to younger viewers.

This is a dreamy, romantic fantasy whose mood falls somewhere between magic and reality.

Although I didn’t find the film particularly noteworthy, I enjoyed visiting Paris in the late 1950s and appreciated the behind-the-scenes tour. Like many hangout films, it’s simply enjoyable to spend time with the characters, even if nothing momentous occurs (depending on one’s definition of whether the making of a classic movie qualifies as “momentous”).

Tonally, it’s closer to the Adam West television program than to any of the subsequent incarnations, although (if possible) The Lego Batman Movie takes itself even less seriously.

It maintains its cheekiness while poking fun at the overused concept of redemption. Most importantly, it stays funny up to the beginning of the end credits, and maybe a little beyond.

Works not primarily because it's a strange and original brew, but because it accomplishes its goals without seeming to force things. The blending of reality with dreams, memories, and imagination is done flawlessly.

This movie probably falls within the purview of a "love it/hate it" subgenre of the psychological thriller.

There's enough drama here to fill two hours. Whether or not that happens, Rupert Murray's account represents fascinating viewing, and the richness of the subject matter more than makes up for the crudeness of some of the visual elements.

The movie is more about the events that resulted in Felt becoming Deep Throat than his work in that role. Although not the definitive Watergate movie, it illustrates an aspect of the scandal that to this point has not been given ample attention by filmmakers.

De Laurentiis' Kong may not be a grand, glorious modernization of a classic tale, but it's two-plus hours of big-scale, occasionally-foolish entertainment.