Most of all, this film is a tribute to the imagination and dedication that goes into the innumerable tiny decisions that make the difference between the beautifully drawn but listless "Black Cauldron," and the timeless, heartwarming appeal of the Ashman-era films.

There’s some appreciable serenity and a lot of personal grief on display in Out Stealing Horses, but it’s only visible in fits and starts.

Once you get past the horrifically casual racist stereotypes, non-existent character depth, incoherent plotting, clichéd dialogue, and baffling editing, what’s perhaps most insulting is how numbingly boring the whole affair ended up. If you’re going to make a movie this lazily, at least try to make it fun!

The sad subtext of Made in Italy is more intriguing and poignant than what we see on screen.

This recent The Secret Garden both respects and admires children’s imagination as its young characters discover their own way to grapple with loss, isolation, and loneliness.

This sounds very dark. But I Used to Go Here, grounded by a beautiful performance from Gillian Jacobs, treats its subject light-heartedly, while still managing to be honest.

This movie promises dancing, and it delivers.

This version of La Llorona finds new emotional ground. It’s not just a creepy story, but a painful reflection of injustice.

An American Pickle is charming and moving whenever it is content to be a two-man play. That's where the dramatic and thematic action happens. And it happens mainly through Rogen's dual performance.

Polsky’s skill in mining the darkly humorous shades of disastrous hubris is not all that surprising, considering he produced Werner Herzog and Nicolas Cage’s funniest film to date, 2009’s “Bad Lieutenant: Port of Call New Orleans.”

There is nothing new, exciting or particularly challenging about what The Secret: Dare to Dream is selling.

If nothing else, Black Is King is a jaw-dropping visual achievement.

The Cuban pulls together music, romance, loss, and memory into an emotional tale that spans cultures and generations. One thing connects them all: Cuban music.

The film's poetry is like the close-up of the clenched fist that Rowland uses to introduce us to his character study — there’s a thoughtfulness behind the tight fingers, maybe even a broken soul, but its expression is that of a blunt object.

If anything, there’s something more to the “peace” that these men repeatedly say they found on the water. Peace may be harder to find this summer than we could have ever imagined, but it’s still a primal human need.

Add to this a “What Are The Odds?” plot twist that’s so preposterous it’s practically offensive and you have a movie that seems fit to go off the rails. And yet. Arterton, Mbatha-Raw, and the child actors — Lucas Bond as Frank and Dixie Egerickx as his school chum Edie — bring such commitment and integrity to their characterizations that one is inclined not just to hang in there but to root for them all.

Laughter is an essential fuel when dealing with subject matter as heavy as this, and The Fight does a splendid job of humanizing its heroic lawyers.

Entertaining and richly sourced documentary.

The result, a National Geographic production, is a gripping and moving story, even though it never quite lives up to its opening section, which is directed by Howard and edited (by M. Watanabe Milmore and Gladys Murphy) with such elegance and visceral power that it might be the most impressive piece of storytelling Howard has ever been associated with.

She Dies Tomorrow has the feel of a horror film, and is sometimes scary, but it's really an existential meditation on mortality.

It’s nice to see that the first horror movie to specifically address our present hellish circumstances is as unpretentious and tidy as it is.

Every time it feels like Komasa and Pacewicz edge too close to sympathy for their modern monster, Tomasz does something that reveals those feelings to be unearned and undesired by the filmmakers. And it’s that give and take that makes The Hater interesting.

A mediocre film that's unaware of the poor choices it's making is much harder to watch than a bad film that relishes its stupidity and poor taste. At least the second kind of film can be fun.

This is a movie for instant fans; it's explicitly for anyone who doesn’t needs any convincing about why we'd instantly love them, much in the same way its underdog tale is eagerly meant to be seen as pure, and even more cloyingly, as crowd-pleasing.

If Retaliation were a friend, you’d eventually avoid them.

No matter how many shapes Owen takes, Krasinski's essential everyman always makes it warm-hearted and engaging. He may be surrounded by the fantastic and silly but his humanity, even in animal form, is what brings the movie to life.

For as incomplete as “The Bad and the Beautiful” feels in terms of addressing criticisms leveled at Newton, the inclusion of so many women’s perspectives is its own defensive statement.

You can soak in the movie’s basic premise and overacting just as long as you know this pool’s shallow.