Scott is by no-means a “can’t miss” filmmaker. Although this is far from the worst films he has made, House of Gucci is among his most disappointing. With such a strong cast and the pedigree of a high-profile true crime story, viewers are likely to expect something with more octane. But the movie is too long and starts to spin its wheels long before it reaches its destination.

It’s a perfectly enjoyable piece of movie-making and a treasure for those who want a better understanding of how old TV shows were made.

More of the same. One senses viewers wouldn’t want anything different.

It is difficult to deny Nell's intelligence and sensitivity. We approach this story with the same fascination that Nell faces each day, seeing, if only for a short time, how different the world -- and people -- can be.

Despite Tony Scott's occasional blundering, True Romance is still a visceral roller coaster.

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.

Despite flouting Hollywood clichés, it nevertheless manages to be both romantic and funny even though it starts with the separation of the main couple.

The strong final third counterbalances the weaknesses of the first half. I prefer films that build to something worthwhile rather than collapse short of the finish line.

Anthropoid is engrossing but it isn’t happy. War movies, at least the best of them, seldom are.

Those yearning to make use of a small package of tissues may be willing to overlook the movie’s deficiencies but I can’t help but wonder whether a conventional telling of the same story might have been more effective in the long run.

Offers everything a good movie of this sort should: plenty of suspenseful action, a few good laughs, and a share of obligatory "reluctant buddy" bonding.

Regardless of the medium, this is an effectively brutal story of swords, sorcery, demons, and heroes, with an Oedipal hint or two thrown in for flavor.

Lack of focus is ultimately the undoing of sophomore feature director Yann Demange – despite crafting several compelling stand-alone sequences, he is unable to stitch everything together into a compelling whole.

For adults, while The Last Mimzy is not unpleasant, it lacks the polish and substance to be anything more than an opportunity to attend a movie with one's family. The film does a lot of things but it never fully satisfies.

Spider-Man and the first sequel were breezy adventures - easy and fun to sit through. Spider-Man 3 is a chore. The effective moments require a lot patience to uncover and some of what has to be shifted to get to them is not worth the effort. People love trilogies because it's said that good things come in threes, but this series would have looked better and felt more satisfying had the filmmakers stopped at two.

Woo is in fine form, employing every weapon in his considerable arsenal: slow motion shots, billowing clothing (scarves, loose jackets, the dresses on flamenco dancers), pigeons taking flight, lots of martial arts/WWF moves, and a fluid but constantly-moving camera.

Jolie's account is mostly accurate but coldly clinical. The story is effective in relaying Zamperini's narrative but lacks both the gut punch one often gets from prisoner-of-war narratives and the full catharsis one expects at the end.

I'll be among the first to admit that Timothy Dalton is a fine actor. But giving a solid performance has little to do with being a good James Bond, and, as accomplished as Dalton is, he's a failure as 007 in The Living Daylights.

The film’s problem is that, after chronicling Nancy’s nightmarish 12 hours on a tiny rock island, director Jaume Collet-Serra and screenwriter Anthony Jaswinski don’t know how to end things. Their choice of a resolution is preposterous and underwhelming.

After starting out as a character-based ensemble piece, The Best Man Holiday turns into a predictable affair determined to hit as many familiar beats as possible while striving to wring tears and cheers in equal quantities from its audience.

This is one of those middle-of-the-road art pictures that will impress some music lovers and attract a small audience, but won't really excite anyone. Copying Beethoven does not do for its title composer what Amadeus did for Mozart, and that's a shame.

With the exception of a few slow spots, Outlaw King flows briskly. It’s one of the better “Netflix originals” the service has provided and worth the expense of two hours.

Wheeler is extremely secure in filming the sex scenes - they are inarguably erotic - but she has trouble with serious drama. Overall, that makes Better Than Chocolate a mixed bag with a wavering focus. In many ways, it's like the majority of heterosexual romances -- not unpleasant or unwatchable, but nothing special.

The caper is a dud - so stupid and implausible from beginning to end that it's impossible to take it seriously for even the briefest of moments.

Unless you're a fan of Slater or Tomei, or hopelessly addicted to sappy, ineptly-handled love stories, there's no reason whatsoever to subject yourself to this movie.

The best film of The Hobbit's three, this final installment is closer in quality to "The Lord of the Rings" than to its immediate predecessors.

No matter what your opinion is of the movie, you're unlikely to be bored.

Happenstance represents an intriguing meditation on the unseen forces that no one can escape.