Avengers: Endgame isn’t as brash, surprising, or relentless as its predecessor but it’s a worthy conclusion to the Infinity War duology and provides a satisfying end to the First Avengers Era.

Has two strengths to recommend it: strong character interaction and a viciously accurate depiction of the modern corporate philosophy.

Halloween Kills is one of the better sequels (put it alongside Halloween 4 and H20 and a shade below the 2018 production) and contains all the elements to make it popular among horror film lovers regardless of their ages.

Gemma Bovery, which is based on a graphic novel by Posy Simmonds, possesses a deliciously sense of wit and irony.

There’s nothing momentous about The Wife but it functions equally effectively as a character-based drama and an allegorical statement about the power dynamic between men and women in pre-21st century marriages.

The vibe, if not the specifics, is highly reminiscent of "The Last Starfighter," "Battlestar Galactica," "Battle Beyond the Stars," and others. The fact that the movie's "present" is defined as being 1988 and the soundtrack is peppered with '70s tunes cements the retro feeling.

Alex is certainly worth spending a couple of hours with, even if the slow pace is better modulated for a night in than a night out.

From a purely visual standpoint, this may be the most impressive of all of Disney's traditionally animated features.

The variation keeps things fresh and the relatively short running length (less than 90 minutes) ensures that Borat doesn't overstay its welcome - even though when it's all done, we wish this absurd man might have lingered a little longer.

Barbarians starts out as a tense psychological thriller unfolding against the tableau of a not-so-friendly dinner before morphing into something decidedly physical and creepy.

The movie contains the same dry humor that infused the John Wick films. Although the action is in earnest and generates a fair degree of tension during the most intense sequences, the film’s breezy tone is a tonic for those who don’t like to feel wrung-out after violent, edge-of-the-seat confrontations.

The style feels a little like that of the recently departed TV show "24," albeit without Kiefer Sutherland, the split screens, and the ticking clock.

In terms of the balance between narrative, mystery, and razor-sharp dialogue, I was reminded of Knives Out. Very different films in some ways but not that different in their ability to engage, entertain, and not overstay their welcomes.

It's fascinating to see how life imitates art; the closing months of Tolstoy's life read like something he might have penned. One need not be familiar with "War and Peace," "Anna Karenina," or anything else written by the Russian great to appreciate the movie, however.

Despite various shoot-outs, dogfights, chases, and crashes, Oblivion is not a teen-friendly film. The storyline is too dense and the pacing too uneven.

Song Sung Blue is a good story—heartwarming, uplifting, tear-jerking, and chock full of a beautiful noise.

The Hunchback of Notre Dame isn't bad, it's just a little disappointing. Despite the over-hyped and overexaggerated darkness of the production, kids will love it.

In the end, the story becomes a little too convoluted and the resolution is over-the-top but, for the most part, the twists and turns keep the viewer engaged, the puzzle pieces fit together on a second viewing, and Rylance never ceases to mesmerize.

Perhaps the most impressive thing that Newell has done with Donnie Brasco is to cull an atypically low-key and introspective performance from Al Pacino, an actor known for manic, scenery-chewing efforts.

While this is admittedly not lighthearted mainstream fare, the subject matter is interesting and is handled in a manner that offers a compelling and sometimes unsettling 95 minutes.

It's a gentle, unhurried drama about how people can connect with each other through conversation, nonverbal gestures, and writing.

McFarland USA, like "Hoosiers," makes characters a priority. The film, directed by New Zealander Niki Caro, focuses on the people involved in the drama. The narrative doesn't saddle them with cliché-riddled subplots; it makes them and their concerns real.

Although the film's real-world credibility is shaky, it works on its own terms.

5x2 is a little talky and the pace is slow, but, for this kind of motion picture, it's one of the best around.

An unevenly paced but ultimately winning romantic comedy, Juliet, Naked is the latest success based on a Hornby novel, joining "Brooklyn," "High Fidelity," "About a Boy," and "Fever Pitch."

Happy Feet ends on an upbeat note with singing and dancing, but the weaknesses that precede it deflate the euphoria.

The DUFF would make John Hughes smile. With its mixture of wit, teen friendly situations, and heart, The DUFF feels like something that might have come out of Hughes' '80s playbook.

This may sound like Woody Allen - in fact, it often feels like Woody Allen (minus the expected helpings of angst) - but it's not. Prime is from writer/director Ben Younger and, while it's not up to the level of Allen's great romantic comedies ("Annie Hall," "Manhattan"), it's better than anything the acclaimed New York auteur has brought to the screen in recent years.