Gerwig is trying for something a little different, juggling the time frame and creating a “meta” ending to make the story’s feminist themes overt and incorporate an ambiguous “twist” that some will see as clever and others may find heretical.

With Bombshell, thanks in large part to the contributions of his actors, Roach has crafted a compelling “ripped from the headlines” motion picture that unfolds like a page-turner. Unfortunately, with little room for nuance or detail, it lacks the depth necessary to make it more than a superficial dissection of what amounted to low-hanging fruit in the 2010s series of major headline sexual harassment revelations.

An individual’s appreciation of Cats may rest on a previous love of the stage play; others are more likely to throw up a hairball than purr in contentment.

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.

The edgy, claustrophobic approach to filmmaking is there, as is the importance of setting. There’s never a clear sense of where the movie is headed and, when it gets there, it arrives with a bang.

By keeping the tone from becoming too somber and generating a degree of sympathy for Jewell, Eastwood has crafted an engaging (albeit fictionalized) account of the triumph of ordinary men over the establishment.

The Next Level feels a little too much like a money grab and, although moderately entertaining on a popcorn level, there’s a sense of missed opportunity.

At its best, this movie is searing. It pinpoints many of the little talked-about aspects of divorce that seem the least significant but hurt the most. It also eviscerates the practice of Family Law without apology.

Overall, this is a well-acted peek back in history to an era when scientific and engineering techniques currently taken for granted were in their pioneering stages, impelled forward by humanity’s insatiable desire to explore and conquer new vistas.

Frozen II is a worthy follow-up with enough heart, action, and music to entertain younger and older viewers alike.

It’s exceptional escapist entertainment for those who don’t mind a little spice sprinkled into their cozy mystery.

A celebration of Mr. Rogers and the healing capabilities of his words and doctrine, the movie may not be a splashy as many of the year-end multiplex stocking stuffers but the experience it offers tugs effectively at the heart strings.

Although arguably too long and arduous for theatrical viewing, it’s perfect for the more comfortable, relaxed confines of home viewing when the prospect of immersing oneself in a director’s creative vision for 3 ½ hours is less daunting. Whether seen on the big screen or a small one, The Irishman is among 2019’s best motion pictures and should receive its share of Oscar attention in 2020.

This is solid, middle-of-the-road entertainment. Slow patches aside, it finishes strong and, although it probably won’t win the box office race, it may generate some Oscar interest (because Bale is almost always good enough to warrant that sort of attention).

With Paul Feig in the director’s chair, this unapologetically sentimental film provides viewers with opportunities to laugh and cry while morphing into something a little different than what the trailers and marketing material suggest.

Doctor Sleep is more straightforward and narratively clean than "The Shining." Although too long by at least 20 minutes, it is more accessible and doesn’t overly penalize those who haven’t seen (or don’t remember) the original movie.

The problem with Waititi’s approach, not unlike those faced by Roberto Benigni 22 years ago when he made the divisive "Life Is Beautiful," is perfecting the tonal shifts. His difficulties in this area can create a whiplash effect that results in the overall production feeling a little “off.”

The film surprises with its narrative twists and turns, making the overall trajectory unexpected and the endpoint different from anything one might have expected at the beginning.

The story introduces interesting new wrinkles and the ending, when considered in the context of a trilogy, makes this movie feel less like an extraneous add-on than a part of a larger tale. There’s really nowhere else to take the franchise, however. With this sixth installment, it’s over.

By blending facts, myths, and made-up material, Lemons weaves a strong, engaging tale but, at least on some level, there’s a sense of a missed opportunity to do something grander.

It’s a strong performance of a character worthy of biopic treatment. Dolemite lives!

The Lighthouse is a riveting but decidedly non-mainstream horror film. Even if the ending is imperfect, I’d love to see more movies like this.

Any curiosity surrounding the film may have been misplaced – it’s a bit of a bore.

If you liked "Zombieland," you’ll probably like Zombieland: Double Tap, just not as much. It has some good laughs, although they don’t come as frequently. It has some clever moments, but not as many. And the character interaction is fun, at least most of the time.

Although the second installment is effective at moving the story forward rather than re-treading familiar ground, it enters a patch of quicksand from which it is unprepared to escape. Disney is adept at doing many things but offering a sobering and intelligent examination of genocide is not among them.

When it comes to waterborne movies, Wolfgang Petersen’s "The Perfect Storm" (not a horror film) is more terrifying than Mary.

Little of the film is new or innovative and, although director Ang Lee can boast some interesting choreography with one of the fight scenes (something involving the use of a motorcycle as a martial arts weapon), his inventiveness doesn’t extend to the tired storyline, which feels like recycled pulp material.

The Laundromat uses a format not unlike that of "The Big Short" (without Margot Robbie in a bubble bath) to shine the light on the kinds of activities uncovered by The Panama Papers.