It's a thinking person's thriller, where pyrotechnics give way to plot, character development supplants fight scenes, and adrenaline does not short-circuit intelligence.

Works on its own terms, which is more than can be said of most horror films these days. If this is the kind of movie you're looking for, it delivers.

Once Upon a Deadpool is as crass a cash-grab as one is likely to find, but at least the filmmakers/studio are upfront about their motivations.

Almodovar's central parody is strong enough to save this film from floundering too much or too often. It's daring and nasty, but rarely brilliant.

For those who do not consider themselves to be among the Sex and the City faithful, this is a painful experience, perhaps the longest 148 minutes likely to be spent in a movie theater this year. Watching grass grow is more dramatically satisfying.

The over-the-top acting is forgivable, but the plot's incoherence is not.

The movie consists of a bunch of random events and, if you pause long enough to consider things like plot and motivation (something you’re not supposed to do), it becomes evident that most of the movie doesn’t make any sense. Add to that an anti-climactic ending, scattershot editing, and too many extraneous characters and the last Star Wars movie is the most bloated and least satisfying of all the main-line adventures.

Strange that a movie about comedy is so lacking in this quality.

It's easily the weakest entry into this ever-expanding category and is inferior to its subtitled source material. Quarantine implies "stay away" and that's not bad advice.

Some of what occurs in Lucky Number Slevin is done with a wink and a nod, although McGuinan (á là Tarantino) doesn't skimp on the gore.

Although the storyline is predictable, the intelligent dialogue and top-drawer acting more than make up for the possible deficiency.

Dark Web is a sequel only in that it mimics its predecessor’s style. The story and characters are new and, because the supernatural element has been eliminated, the movie adds a dash more suspense to go along with a heap of misanthropic nihilism.

Shooter does what any good thriller should accomplish - it thrills. It's fast-paced, energetic, and doesn't follow a path that seems pre-ordained from the beginning.

I can’t say that Annabelle Comes Home, the third feature focused on the creepy girl doll, is the worst (because it has plenty of competition) but it’s easily among the dumbest.

If this truly is Ridley Scott's preferred cut, he has proven unable to justify the existence of yet another Robin Hood film.

The latest motion picture to take an intriguing premise and flush it into the septic tank.

As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity.

Crash has a couple of concepts which are, admittedly, fascinating and original, but not a whole lot more.

Grumpy Old Men works more often than not. It's an example of a frothy, good-natured holiday picture that adults can relax and enjoy. As a comedy, the movie contains enough fresh humor to keep the laughs coming.

The jokes, which are frequent and frequently successful, make this motion picture worth sitting through, even though, at nearly two hours, it runs on for far too long. For those who are just looking for a movie that scores high on the feel-good comedy scale, Multiplicity is a can't- miss choice. In the end, however, I couldn't help wishing that Ramis had tried for something a little more ambitious, rather than settling for a multiplicity of laughs without much genuine substance.

For a movie about magic, that’s one element sorely lacking in this retread.

Although the production is sporadically amusing, it feels like a 20-minute short that was expanded to feature length to its considerable detriment.

Coscarelli's screenplay introduces an abundance of intriguing concepts but never goes very far with any of them. The characters are paper thin and the special effects are laughably bad.

With Mexican-born director Everardo Gout at the helm (DeMonaco having stepped away from directorial duties following Election Year), the Forever Purge is adept at providing the violence and gore fans expect from an exploitation flick. And, despite its pretense of offering political commentary, that’s really all this movie is.

Many years ago, an acquaintance of mine said “Who needs good art when you’ve got great trash” and that applies here. Although I would stop short of calling this a “gem,” it is at times creepily effective, at least during its first three-fourths. As the film approaches its climax, it loses some of its uniqueness but there’s plenty to like about it before it starts to feel overly familiar.

An incomplete memoir with spotty character development, but, in part because of the way it was filmed and in part because of the strength of the cast, it's still an effective entertainment.

As a bio-pic, De-Lovely is pretty standard, run-of-the-mill stuff (albeit with an interesting framing device). However, as a "best hits" collection of Cole Porter's music, it is unparalleled.

Despite its flaws, the movie is compulsively watchable, and few will be bored by it. It's a charming movie that falls short of greatness, but is still worth a solid recommendation.