Stanfield is a true movie star, radiating decency even as the character's shell hardens.

There's a flatness in the end-result. The quirky is utterly predictable.

Wirkola stages a few excellent set pieces and Rapace is fantastic, but the general lack of entertainment value has to be considered disappointing given the potential of the entire piece.

While no one is going to mistake The Hitman’s Bodyguard for high art, it will please those in the mood for late-summer fun.

The result is a dark and stirring variation on the standard coming-of-age narrative that, much like its central characters, does not follow the path one might expect.

The movie is put together with the no-fuss confidence of Soderbergh's best entertainments, staging comedic banter and suspense sequences with equal assurance, even playing sly perception games with the audience by making you wonder how smart or dumb the characters (and the movie) actually are.

Wayans has always been an underrated physical comedian, and the movie works best when he’s allowed to unleash that side of his persona, but that’s too rare and not enough to rescue the rest of this comedy ceremony.

Song's performance makes me wish the rest of A Taxi Driver was as thoughtful.

The result is a bit of a mess and an oftentimes dull one at that, the kind of bland cinematic Euro-pudding that Miramax used to release in bulk back in the day.

In a comedic bildungsroman like this one, it’s apt to have doubts about the hero early on, but you’re not supposed to want to throw him out of a high window. I did, and I never quite recovered from that feeling.

Pilgrimage is the kind of movie one fears is going out of style forever. A historical action drama, serious in tone and intent but also invested in delivering movie-movie thrills.

Bonello knows exactly when he's said just enough, and that makes the experience of watching Nocturama more engaging.

The Glass Castle is at odds with itself. Maybe that contradiction is by design. Maybe it’s inevitable, given the emotionally complicated terrain it treads. But the result is a film that never quite clicks tonally and doesn’t do justice to its harrowing central story.

The film is very smart, most of all because it resists the urge to devolve into a sentimental redemption narrative. This is a daring comedy with a very sharp bite.

This is a movie that doesn't merely tell a gripping, important story, but reminds us that the storyteller and the storytelling matter just as much.

Let’s look on the bright side. The running time is barely 90 minutes. And there are but three fairly amusing characters who save this inferior attempt at family entertainment, at least for me.

A truly effective genre flick. It’s not perfect, but it’s damn closer than anyone would have predicted.

It’s one of those rare movies that makes you feel edgy, conveying its protagonist’s dilemma in ways that prey on your nerves and emotions more than just relaying a night-from-hell anecdote.

Wolf Warrior 2 lectures you, pummels you, and then expects you to cheer.

Though undoubtedly a flawed enterprise, After Love is a formal wonder, due to the efforts of Lafosse, photographer Jean-François Hensgens, and production designer Olivier Radot.

The dimension of humanity only buttresses the humor.

A film so obedient to current academic fashions in both politics and cinema aesthetics that it ends up feeling both contrived and a bit dishonest.

The heroes of this film are, in other words, selfish, but never in a venal, or ugly way. They're human, and they do what they must to face each successive challenge they're confronted with.

This is the kind of piece that needs to move 100MPH from first scene to last for you to overlook its flaws. It slows down for too long to recommend the ride.

It’s about both fellatio jokes and falling in love all over again, but it’s so rushed and the characters are so underdeveloped that the film feels frustratingly slight.

It’s a movie that only begins as a commentary on doping in sports and becomes something greater about the dangers of being a whistleblower, especially when the whistle blows on Russia.

This movie shows how Fitzmaurice was able to direct the picture — scheduling the shot so that he could efficiently marshal his energy was a big part of the process, as of course was the “eye gaze” computer.

Sheridan drops us in and we know this place immediately; his storytelling is meaty but efficient, and his pacing moves along at a steadily engrossing clip before ultimately exploding in a startling blast of violence.