There are odd comic moments, but this is a bleak, nighttime, nightmare world, where the couple seem to have about the same chance at a happy outcome as the accident victims.

Walks a sometimes-shaky line between tenderness and schmaltz.

McKay doesn’t take sides in the immigration debate, although he is clearly sympathetic of these hard-working young men who experience great indignities to work jobs most of us would not want. His approach is more cinema verite than high-stakes drama. It is almost a gentle, sweet film.

This film is always pleasant to watch. It shows us that life has little detours, all the way to the end.

An inventive and caustic comedy that really does look like the thing it's mocking.

A wildly entertaining fantasy thriller that propels Russian cinema into the 21st century.

Director Joseph Kahn and writer Alex Larsen exhibit tremendous glee in their takedown of everything that even smacks of political correctness, though at two hours, that excitement causes much of the dramatic tension in the plot to dissipate before the climactic battles.

Though it becomes flimsy toward the end, it's a ripping yarn.

Twilight’s Kiss is a fragile film of quiet moments and tender feelings, and although it runs out of gas near the end, it takes us on an engaging journey.

An extraordinary and heartfelt film.

If this isn't the single best performance ever by a preadolescent male (Osment) in a motion picture, then it's tied for whatever is first.

There's a case to be made for The Real Cancun as a document of the mating dance as well as an unintentionally poignant film about the brevity of youth.

Refreshing and worth seeing.

Respect is not something viewers will find much of in The Wedding Ringer, nor propriety, nor any of those things that make for respectable family viewing. It’s just a funny, impolite, very not-for-kids romp that goes there.

It doesn’t ascend to the sky. It’s not profound or great. But Vigalondo takes Colossal to all sorts of unexpected places and then brings it home, intact.

A highly effective, psychological horror thriller.

It's warm, spontaneous and heartfelt. Zeffirelli cared about his memories, and he's done justice to them.

This is better than any of the "Twilights." It features a functioning creative imagination and lots of honest-to-goodness acting by its star, Jennifer Lawrence.

Phoenix is the perfect instrument for Aster’s bleak and self-destructive view of humanity. Consider “Eddington” a warning.

Shot primarily in Africa over the past year (primarily before the coronavirus pandemic swept the world), the big-budget film plays out like a collection of opulent music videos. It’s not a live concert film, but it does take cues from the theatrical pacing of Beyoncé’s tour performances.

An Irish drama that's a lot more sly and a lot less straightforward than it appears on the surface.

At its best, The Great Hack will alarm you, infuriate you, and — hopefully — activate you.

Maleficent imparts a feeling of enchantment. Here is a world that's strange and beautiful.

It does provide audiences with the satisfaction of seeing and hearing an important truth expressed, and that's better than making you feel good. That's making you feel something.

So there’s a lot going on here, and director Joel Crawford and his teams efficiently keep the story moving along. There’s a wonderful “Flintstones” versus “Jetsons” vibe, the characters are, as usual, appealing.

The casting is carefully considered, as well, from Willis, whose Old Joe is even more dangerous than Young Joe, to Emily Blunt, who goes American this time and plays a young mother with a winning warmth and vulnerability.

The script stays on safe, formulaic ground, but it’s effective — and somehow breathes new life into a franchise that had become a junk heap.

It's a generous tale, told through big performances by a talented cast, presenting a range of colorful characters that only Dickens could have created.