For anyone who wants a movie to feed their intelligence and imagination more than their eyes and ears, Pi is a solid choice.

The issue may be serious, but the tone is lighthearted, and that, more than anything else, makes Super Size Me a palatable cinematic entrée.

Tennant takes this familiar material and crafts a charming, captivating motion picture.

Not a positive triumph, but it does bring a smile to the face and, perhaps in some cases, a tear to the eye.

There's more to the film than nostalgia; it also offers insight, and that's what makes it worth viewing on the big screen rather than waiting for its Discovery Channel premiere.

Watching Thunderbolts*, it’s easy to forget this is Marvel. Bringing together the flotsam and jetsam of the MCU and allowing them to have their own adventure (without any major cameos) goes against the grain for a film studio whose mantra seems to be “Always Be Escalating.”

The film overflows with quips, irony, and physical gags while at the same time relating a noir-tinged story of seedy corruption set in the neon-saturated underbelly of the 1977 Los Angeles porn industry.

Although not a word of what Powers wrote is based on reality (at least insofar as the dialogue is concerned – and this movie is all about the dialogue), it’s nevertheless a fascinating exploration of the kinds of things these four individuals might have discussed.

There's nothing especially original about Unstrung Heroes, but the story is told with intelligence and sensitivity.

Even though the ending is inescapable (and therefore predictable), that does little to diminish its effectiveness.

Mary Poppins Returns is an imperfect sequel but as a throw-away holiday film designed to provide a family viewing experience, it satisfies a need.

Swing Vote marries mild satire with Capra-esque melodrama in a formula that works surprisingly well.

There’s enough variety here that everyone’s funny bone should be tickled from time-to-time.

With impeccable period details, top-notch performances, and the text of one of the 20th century’s most lauded plays, The Piano Lesson represents one of Netflix’s stronger unsung late-2024 drops.

Perhaps the most surprising thing about The Adjustment Bureau is that, irrespective of the misdirection of the trailers and T.V. spots, this is more of a romance than a science fiction thriller.

This is a film for anyone who prefers to leave the theater smiling.

The criss-crossing between drama, thriller, and horror is nothing if not arresting. It is also unsettling.

Boasts a strong ensemble of performances. Martin Freeman is the perfect choice for an ordinary, unheroic Earth guy.

For this homage, Emily, actor-turned-director Frances O’Connor uses speculation and outright fiction to fill in the threadbare historical tapestry. The result, although impressively mounted and passably entertaining, has the generic feel of many woman-centered 19th century period pieces.

Mulholland Falls isn't a bad film, but it definitely is disappointing, especially coming from director Lee Tamahori, who brought the powerful Once Were Warriors to the screen. Tamahori's direction is inconsistent, but, ultimately, this movie is undermined by its screenplay. Certain aspects are laudable, but, all things considered, those elements aren't enough to keep Mulholland Falls from slipping over the edge into mediocrity.

The film offers little more depth about the writer than his Wikipedia article and considerably less than one would get from reading the semi-autobiographical The Catcher in the Rye.

More likely to end up on the snow pile of forgettable Christmas-themed movies than in the vault of memorable ones.

SubUrbia is about 95% dialogue, some of which is clever, but much of which is pointless.

Would be a thoroughly entertaining affair if it wasn't for one thing: the plot. The annoying and pointless storyline is a constant irritant because it diverts our attention from the real reason to see this movie - the easygoing chemistry between actors Tommy Lee Jones and Will Smith.

Although Rumble in the Bronx isn't Chan's best work it's still ninety minutes of solid, campy entertainment. Most of the running time is devoted to the slickly choreographed action scenes, leaving virtually no room for plot or character development.

On autopilot from beginning to end, Lay the Favorite feels like sitcom blown up to big-screen proportions. The laughs aren't raucous or numerous, the character development is sketchy at best, and the insider's perspective on bookies and gambling is superficial.

Motion picture cotton candy - sweet while it lasts, easily disposed of, and insubstantial.

Admittedly, the typical romantic comedy thrives on tropes and clichés but the pandering in Finding Your Feet is so extreme that it gets old fast.