Lights Out presents actual characters that are interesting, that have rough edges, that act like real people, not victims in waiting.

But Eastwood is undercut by the unbearably weak screenplay by Nick Schenk, who adapts a 1975 novel by N. Richard Nash. Schenk has turned in good work for Eastwood before, including “Gran Torino” and “The Mule,” but here his strategy seems to be having his characters explain everything that they’re doing and feeling, much of which should be delivered visually. Action is character, after all.

What truly propels the film is the growing realization, through both the script and Sweeney’s performance, that Christy isn’t an ordinary person blessed with an extraordinary gift. Rather, she’s an extraordinary person whose very life force is awe-inspiring.

Wicked Little Letters is for people who like British comedy, but also for people who think British comedies are too refined for their taste. This one isn’t. It’s crude and outrageous enough to appeal to modern American audiences.

Those willing to meet (Untitled) even part way will discover a comedy of intelligence and wit, with some strong performances.

Kids will enjoy the wisecracks and foolishness, and the big musical production numbers are toe-tappers -- or would be if the veggies had feet.

A noble attempt that doesn't hang together.

The story doesn't quite pay off, characters are underwritten and the surprise ending is contrived and unconvincing.

Desperately unfunny action comedy.

Stay far, far away.

Though Man on the Moon is lost when it comes to Kaufman's inner life and motivations, it offers a detailed account of his career.

The joy is in the details - from the animated credits to the perky pop score to the pre-"Mad Man" hair, clothes and general sensibility.

If you're looking for cinema verite, look elsewhere. If you're looking for a fun, fizzy sequel in a franchise left for dead 10 years ago, have at it.

A long-winded indulgence in tear-and-a-smile whimsy, elevated above the merely irritating and saccharine by compelling art direction.

Moviegoers will love or hate Oliver Stone and his politics until the end of time. With well-made movies such as Snowden, though, his skill as a filmmaker becomes much harder for the detractors to debate.

Hillcoat and Cave give us more than an action story. They create a world.

It looks like a low-budget film, but in this case that just adds to the charm. Croghan's only false move was to divide her film into segments, each one introduced by a quote from a famous writer.

Brothers has the careful observation, measured pace and lived-in feeling of a good European film.

A Hologram for the King has great energy, and also a languorous, lived-in quality.

Despite its sometimes bloody content, the mood of Happy Death Day is remarkably sappy, aimed at the broadest possible audience for a film of its genre. Think of it as “slasher lite” and an acceptable date movie for unadventurous types, and you have the gist of it.

The High Note begins well, ends well and even has a good middle, but there’s one extra plot turn, about 15 minutes before the finish, that’s one too many. It doesn’t spoil the movie, but it adds an unwelcome touch of sentimentality into a story that is otherwise fairly tough throughout.

A film that's sad and poignant but not without humorous moments.

Yet with all its virtues, Thunderheart unravels after the first hour and continues unraveling until it chokes itself. The movie's complicated story, involving the FBI, the government, and the feuding tribal factions, is impossible to sort through. [3 Apr 1992, p.D1]

A bizarre original from the bizarrely original director.

What we get with Geronimo, is very good action long on Western flavor and not especially compelling in the historical sense. [01 Apr 1994, p.C16]

The only weakness of the movie is that, because it’s a true story, it can’t rearrange the order of events for maximum drama. Thus, what is essentially the climax of the film comes about three quarters in, and the rest of it, while never less than interesting, feels like falling action. The good news is that Sweeney and Kirby get their best scenes, respectively, in this last section of the movie.

A romantic saga that dares to ask realistic questions.

A raucous, in-your-face, commando-style action thriller that makes provocative use of Alcatraz as a lunatic's lair and San Francisco as a sitting duck.