It's the work of a very young filmmaker (Lerman is in his late 20s), promising if finally unsatisfying.

A delightful coming-of-age movie that teeters on contrivance but never topples.

From time to time, there are the requisite cutesy boy-and-his-wolf moments, but for the most part, the film is harrowing, suspenseful and gritty — and a perfect vehicle for impressive 3-D effects that bring to life an exquisitely beautiful but unforgiving land.

Eddie Murphy and Martin Lawrence are back together and give both of their careers some new life in this sentimental comedy.

L'amour Fou engages and moves viewers in two distinct ways. It engages us by showing us something we don't know about that's interesting. It moves us by showing us something we immediately understand, that has nothing to do with being a big shot and everything to do with being just another person at the mercy of time.

Chef Flynn seems more suited for an hour-long show on the Food Network. Its 82-minute running time, although short for a feature film, seems too bloated for this story.

Wondrous performances.

Between the lines, Scoop conveys, not only what Andrew most likely did, but what led him to assume that he’d get away with it.

An ambitious and exciting piece of work, a movie about sex and movies made by a filmmaker who understands the power of each to set off fantasy, create addiction, incite danger and transform the spirit.

Much as she did in "Little Miss Sunshine," Breslin imbues Kit with joy.

Lacks the marquee names and production values of big studio romantic comedies, but it connects on an emotional level most of them fail to do.

It's warm, witty and alive, with a fantastic cast and a belief in its characters that transcends its formulaic tendencies.

So here’s the case of a movie that is, in every way, nothing special — except for the way it’s made and how it’s done.

The Rip is another one — efficient for what it is, but if it’s remembered at all it will be for Damon and Affleck’s matching beards and effortless way of appearing at home together onscreen.

The result is smart and witty, with just enough obvious nods to the present to serve as a capsule of this unstable moment in media, much as the first film captured for the waning golden days of glossy publications.

SubUrbia is depressing comedy -- the more so because director Richard Linklater's satirical picture of youthful alienation rings painfully true.

Quibbling aside, Free Fire mainly works, as an indulgence in cinematic overkill for moviegoers who realize that sometimes too much is just enough.

It gives fans what they want, while also working most of the time as pulse-pounding escapism. Even though he has almost nothing to do with the actual movie, the spirit of a “Speed”-era Keanu Reeves is present throughout.

A structure might have inhibited Aster’s impulse for meaningless excess. Instead, we get a movie that’s all talent and no discipline, which, in practice, is even worse than a movie that’s all discipline and no talent. At least the latter tries to please the audience; the former just pleases the filmmaker.

A Haunting in Venice is no downer. The script by Michael Green (“Logan,” “Blade Runner 2049”), who also wrote the first two Branagh Poirots, is at times ingenious, and he wrote a great part for Fey. As the mystery novelist Ariadne, a stand-in for Christie, she brings nice comic touches to a performance that threatens to steal the movie.

Megamind, it turns out, is a villain to root for.

The picture eventually collapses under the weight of its own gimmickry, but it's still an entertaining distraction for cerebral horror fans who want an appetizer before the B-horror feast that is "Diary of the Dead."

Doesn't add up to much, but it's fast and funny and lets a bunch of top-drawer actors exercise their comic muscles.

The movie is shamelessly manipulative.

In the end, it’s the ideas at work in The Matrix Resurrections, much more than the action, that keep us contentedly in our seats for well over two hours.

François Ozon’s Peter von Kant, about a film director toxically obsessed with a young actor, is much more than a remake. It’s a valentine.

Scorsese stuffs the film with heavy-handed art direction and piles on a ludicrously ominous soundtrack. The soundtrack is a constant reminder of the movie's importance and only highlights its unimportance.

Fascinating -- up to a point.