Perhaps the highest compliment I can pay it is that I think George A. Romero himself would have liked it.

The movie is fairly faithful to the book, and yet so much is lost in the transfer.

Even by the low standards of this type of live-action, family friendly comedy, Show Dogs is especially lame. It’s actually kind of amazing that it’s getting a theatrical release at all.

A stunning, enrapturing film, a crowning work by one of the American cinema’s most essential artists.

This fairly laugh-packed comedy aims to address the desire for intimate companionship in older adults, an increasingly topical issue as more Americans live into their nineties.

As unnecessary prequels go, Solo: A Star Wars Story isn't bad. It's not great, either, though—and despite spirited performances, knockabout humor, and a few surprising or rousing bits, there's something a bit too programmed about the whole thing.

Since Deadpool 2 shows no sign of wanting to rewrite a whole genre with its audacity, we might as well concede that it does the job it apparently wants to do with professionalism and flair, and that the faster we end this piece, the faster you can go on social media and complain about it.

One can imagine that Sollers Point might be better if its focus expanded to the area's inhabitants, not just Keith.

Carrey’s commitment is in the service of a movie that is not just muddled in the conventional ways but down to its core; it really never figures out what it’s about, even as it grimly manipulates its volatile content.

When it comes to conjuring a sense of place, Driver’s film succeeds spectacularly, though it comes up short in other areas.

A crashing disappointment, even if you haven't seen director Masaaki Yuasa's relatively inspired and completely unpredictable 2004 anti-coming-of-age fantasy "Mind Game."

Within about a half hour, what seemed at first banal is in fact oppressive. With deliberate pacing, minimal dialogue, and solid acting from the leads, the movie makes its point felt about marriage.

For “Full Metal Jacket” there are revealing, entertaining recollections by Matthew Modine, R. Lee Ermey and others, but there’s no Jack Nicholson for “The Shining” or Tom Cruise or Nicole Kidman for “Eyes Wide Shut.”

This vertiginous valentine to high-altitude sport attempts to portray, in the most poetic of terms, why mankind feels the need to defy gravity by painstakingly clawing its way into the upper reaches of the atmosphere while risking life and limb.

Handsomely mounted and well-acted by a stellar cast, but it’s one of those theatrical adaptations that has no reason to exist for any viewer who can recall a superior stage version of the same work.

With the uninspired pity party comedy The Day After, self-lacerating Korean dramatist Sang-soo Hong continues a trend towards un-productive self-loathing that began last year with the half-empty "On the Beach At Night Alone" and continued with the half-full "Claire's Camera."

One of the strengths of the film, also written by Pearce, is how much it is willing to withhold, without descending into "Gotcha!" manipulation.

So, yes, the movie’s predictable, and writer Ryan Engle makes a lot of unforced dialogue errors.

So preoccupied with giving its star's wish fulfillment fantasies that it forgets to make sure all the other major characters seem like characters, rather than underdeveloped notions.

As movie-going experiences go, there is nothing worse than to sit through what purports to be a comedy and never have a reason to engage your laugh reflex. Exhibit A: The gender-switch remake of the 1987 screwball farce, "Overboard."

Part of the thrill in watching Niccol’s movies is in seeing him thoroughly curate dreams of our future that play off like logical possibilities.

The film we need right now, from a filmmaker we need right now: French writer/director Coralie Fargeat, who makes her stunning feature debut with a rape-revenge fantasy that’s as brutal as it is thrilling.

The comedy thriller The Con is On is a Who's Who of 1990s indie film character actors, but the movie ends up delivering a lot of cliches from that brief but extremely specific era of filmmaking, and not necessarily the ones you might want.

When you’ve hired human actors to do nothing but sneer, shout, and shoot guns, their onscreen function can get ever so slightly monotonous. This is not the movie’s only reliance on commonplaces but it’s the most prominent.

With a road movie story that aims toward simplistic and rather formulaic romantic wish-fulfillment, it offers some interesting scenery, but its main attraction is another estimable performance by the talented Garcia.

Part of the allure of The Guardians comes from the casting: The radiant, real-life mother and daughter Baye and Smet play mother and daughter Hortense and Solange.

The work by the two leads is consistently committed, not to mention oozing with old fashioned movie-star charisma.

For those who have understandably not seen Takakura's original film due to international distribution issues: think "The Fugitive," only this time, Tommy Lee Jones' gruff cop is replaced by a more sympathetic hot-shot detective.