Although Judy doesn’t adhere rigorously to the chronology of the main character’s last months, it provides a compelling portrait of the tragic decline of one of America’s 20th century icons.

With its grim tone and sickening content, this gruesome gore-fest might have limited appeal for "Death Wish" lovers who wished Charles Bronson hadn’t been such a wimp.

Of recent films, Christopher Nolan’s "Interstellar" is the best comparison. Ad Astra isn’t quite as strong but it’s in the same ballpark.

Downton Abbey is for those who loved the TV series and were sorry to see it go, and there’s nothing wrong with a little fan service for Masterpiece Theater watchers in a day and age when every Marvel film wallows in it.

There’s something delicious about the way Hustlers delivers on its promise of glitz, sex, and raunchiness while delving far enough beneath the surface to subvert the genre.

Although Peter Straughan’s stripped-down regurgitation of the story is faithful to Tartt’s narrative in the broadest sense of the word, it lacks elegance and depth. A Dickensian coming-of-age tale, The Goldfinch is at times dull and pretentious and never earns its 2.5-hour running length as an example of either art or entertainment.

At times, the film tends toward meandering and self-indulgence.

Working with time travel is never an easy task and, when a filmmaker doesn’t take a rigorous, consistent approach, it can become a mess. Such is the case with Don’t Let Go.

To date, "The Insider" probably represents the most compelling whistleblower story to make it to the big screen and, although the subject matter is different, Official Secrets generates in the viewer the same sense of outrage.

Angel Has Fallen feels like it was cobbled together with cliched action scenes and circumstances overused by the once-popular TV series "24." Angel Has Fallen tries hard (and often succeeds) to topple the Kiefer Sutherland program on the “preposterousness” scale.

Ready or Not can be described as the fusion of dark comedy with the Grand Guignol. Unafraid to venture into cinematic taboo territory for its shocks and laughs, the movie doesn’t have many sacred cows. It’s the kind of thing we might have gotten if Monty Python had made a gothic-tinged horror movie.

Certain plot elements that made sense in the original are less logical in this one, especially when one considers the differences in bonds between mothers and children and fathers and children.

The film gets frequent laughs from its raunchiness but, underneath it all, there’s an emotionally resonant story of how children confront the demons of youth that guard the gates to adolescence.

Although Where’d You Go, Bernadette suffers from an ungainly structure and uneven pacing, the production as a whole is engaging and uplifting.

Blinded by the Light is a one-third Bruce Springsteen hagiography, one-third kitschy ‘80s recreation, and one-third feel-good father/son coming together. Surprisingly, however, it works.

Put The Angry Birds Movie 2 into the basket of sequels that no one was asking for.

The film’s depiction of cataplexy is a reasonable representation considering how it’s being used (sufferers may understandably disagree). It’s too bad that so many of the screenplay’s other elements – like its treatment of basic human emotions – are badly mishandled.

Three-fourths of a good horror movie and one-fourth disappointing. The film, constructed as a series of episodic vignettes connected by an umbrella story, remains solidly engaging until it gets to the ending.

The end result is something that feels like it should have been much better than it is.

Hobbs & Shaw is a “classic” summer movie in every sense. It uses Fast & Furious physics (as opposed to the Newtonian kind) to amp up the spectacle element while diminishing the excitement quotient.

The underlying idea is pregnant with promise but writer/director Shelagh McLeod, making her feature debut, is trapped by the time limitations of a film into cutting narrative corners and cheating to achieve an upbeat ending.

This is the director’s least violent feature film but it is in every meaningful way evident as a product of the man who made "Pulp Fiction."

Let me admit to loving the premise behind Supervized. The problem is that a movie needs more than a great premise – it needs to grow and nurture that idea, and that’s where Supervized falls short.

It’s probably strange to call a movie about illness and death a “feel good experience,” but Wang has pitched the film perfectly in this regard.

There are no humans in the film and their only participation was doing voiceover work. Of all the recent Disney recreations, that makes The Lion King the most curious.

Crawl is an old-fashioned B-grade monster movie made with 2019 technology. In short, that means plenty of gore and jump-scares to go along with creatures that no longer look like puppets or men in rubber suits.

Stuber is as bland and generic a mismatched buddy action-comedy as you’re likely to find.

It’s a rom-com where one of the participants is the self-described “last black man” and the other is a house.