There’s a lot in Scream VI to satisfy longtime fans, but it still feels like a step down from the last one.

Tries too hard to be even-handed.

The Bourne series ended with the last installment, and now comes a 135-minute death rattle called The Bourne Legacy. It's a peculiar movie, both over-plotted and under-plotted, encumbered by layers of detail and yet with no details invested in or developed.

The film provides an intelligently imagined future world.

The way Boynton Beach residents reach out to one another is enough to make you consider relocating to one of these communities.

The film is ultimately as much an indictment of liberal apathy as of conservative dirty dealing, and a canonization of McKinney for her continued refusal to follow any party's party line.

Reminded me of the occasional thrill of coming upon Haring's puzzling, unsigned chalk drawings in the New York subway at the turn of the 1980s, before he made a name for himself above ground.

The film presents a compelling portrait of mental illness, but looking at Bale may make audiences feel as though they're watching a documentary.

The film finally gets into gear around the midpoint and zooms to a satisfying finish.

The Wolverine shows that, while originality would be nice, a little novelty and enthusiasm in the presentation of the familiar can be quite enough.

A thinking person’s action movie - as long as you don’t think too much. Even if it has its share of preposterous moments, it crackles with nonstop tension, combat scenes and double-crosses.

A fine, fun remake of a movie that updates, transplants and reimagines the original without sacrificing its heart or goofy charm.

Saltburn is a remarkable combination of smart and stupid. Its problem is that it’s superficially smart and deeply stupid. It’s clever and amusing in 20 different ways, but when it really matters, it descends into ridiculousness.

Charmingly offbeat in the vein of early Woody Allen.

Cube falls into the dreaded trap of allegory -- aaaaaargh! -- and the clunky dialogue makes a midnight bull session seem brilliant by comparison.

Each player in this love rhombus keeps the Martin Ritt-directed affair from scatting off into period nonsense. [01 Jul 2001]

Spike Lee is too passionate and distinctive a film maker to make a lousy movie. So although Mo' Better Blues, his latest, is a misfire, there is a personality behind every camera shot. An audience is willing to go farther down the road with Lee than with another film maker, and even when, as in this case, the road leads nowhere, it's hard to resent the trip. [03 Aug 1990, p.E1]

Never fails to be engrossing. That's because Soldini brings us vivid characters, and gets all the details right.

A quiet, introspective look at how a volatile same-sex-marriage referendum played out in Maine, presents a balanced, journalistic approach to this divisive issue, but there's no doubt who leaves the biggest impression: the opponents of gay marriage.

It all gets a little unwieldy at times, but Shooting the Mafia is far from boring. We can’t take our eyes off it, just like a photo that’s out of focus, yet somehow remains arresting.

As you enjoy the movie’s gleeful outrageousness, take a moment to appreciate the strategic sophistication of some of these bits. These scenes were well planned.

The Thursday Murder Club is solid entertainment, as sweet and sugary as one of Joyce’s irresistible cakes.

Despite some cumbersome moments, the film delivers a to-the-point message about how the sins of the parents can be visited on the children.

It tries to get by on charm, and like a lot of movies, and people who make that attempt, “Kingsman” does have charm — just not enough.

Birds of Prey: And the Fantabulous Emancipation of One Harley Quinn is more than horrible. It should not exist. Money should never have been raised for it. The screenplay should never have been filmed. Margot Robbie shouldn’t have produced it. She certainly shouldn’t have starred in it. It’s just a terrible thing to inflict on audiences, who, after all, didn’t hurt anyone and just hoped to have a nice time.

A victory lap of a comedy film taken by a star whose talent continues to propel his career, but doesn’t seem particularly hungry.

Reitman handles the ensemble cast with Robert Altman-esque assurance. “Saturday Night” is bursting with talent and ideas, is sometimes funny, sometimes groan-worthy, sometimes full of it — and even, at times, inspired. In other words, much like a typical episode of “Saturday Night Live.”

Funny People is a true brass ring effort, a reach for excellence that takes big risks. It's 146 minutes, with a story that's more European in feeling than American.