Mike Cahill's King of California reminds me of those '70s-era pictures beloved of the counterculture about appealing rebels who go down in flames of moral victory.

As innocent as a Disney movie -- and a lot more entertaining.

One of the smartest action thrillers to come along in the past few years. It's also one of the freshest.

The result? Well, as expected, director John Singleton ("Boyz N the Hood") did not make a movie as good as "FF1." This is way better.

The fun and human “Thunderbolts*” is an encouraging sign for the MCU’s future.

The picture... is well- made and entertaining, but it holds a special interest in what it says about Hanks.

As uneven as I Think I Love My Wife often is, it still has an emotional resonance lacking in most films about relationships. By dealing with temptation in even a quasi-realistic way, it affirms that, like comedy, monogamy is hard.

Beethoven once went five years without composing. Until now, Downey has gone five years without making anything close to a serious movie. The bigger waste of time was Beethoven’s, but talent wasted is talent wasted. This is the type of film Downey should be making.

Eric Idle--a royal among sillies--turns in a wonderfully wacky performance.

The writing is subtle and refreshingly without sentimentality — sentimentality being a common flaw in Middle Eastern cinema.

Gripping and ultimately poignant thriller.

Gets its punch from simple scenes and conversations.

The first measure of Arteta's shrewdness as a storyteller is in the no-fuss way he reveals the nature of the father's business.

The movie is pleasant. It's reasonably funny. But the one who gets the real laughs here, the hard laughs, is Carrey, who plays the kind of role he should be playing - a complete lunatic.

Boys State is the most depressing film about boys since “Lord of the Flies.” If anything, it’s even more bleak, because it’s not fiction and it’s not allegory. No, this is a documentary about actual boys.

Last Night in Soho is full of color and darkness, and its melange of past and present evokes one of the world’s great cities. It never lets up.

Some scenes ramble and go on too long, dialogue occasionally turns awkward and adolescent, and the film threatens to collapse from its own unchecked anger.

When Travolta plays, everybody has a good time.

Murphy is the key here. It would be a pleasant surprise to our time-traveling moviegoer from 1984 to find Murphy looking so much like his old self and in possession of his old gifts. His comic timing remains impeccable, and laughing with him here is both fresh and familiar, an ideal combination.

Renders the juicy bits of the artist's life in two hours of pulsing highlights that suggest a man who never really had any emotional or psychic downtime.

The film is at its best in the bedroom, not shying away from the sexual relationship, but not being graphic about it, either. There is great sex, clumsy sex, tender sex - and it's all crucial to the story. Such genuine intimacy, whether gay or straight, is virtually nonexistent in American cinema. It's enthralling to see it here.

This deeply moving and disturbing film derives power from being based on the true story of a black South African who does everything possible, no matter how degrading, to get by within an immoral system, but becomes radicalized almost despite himself.

Rough around the edges, but once you get used to the laconic pace, the plot grooves along nicely.

It is described as about a guy who came back to life, and clearly one of Dumont's aims in The Life of Jesus is to express a spirit of charity for flawed humanity amid the rhythms of ordinary life.

Something kicks in about two thirds in, and Far and Away becomes exhilarating. [22 May 1992]

Bolt tries mightily to make this weighty subject digestible to the average civilian, with some fancy, intricate animated sequences to show us how CRISPR and DNA manipulation work, and while I can’t say I came away from this film being able to coherently explain it, Human Nature works as a glimpse into possible futures and a moral dilemma that doesn’t have easy answers.

Radical follows a predictable formula, and Derbez, a major star in Mexico whose last American projects were the Hulu film “The Valet” and the Apple TV+ series “Acapulco,” lifts the material with his typical vibrant energy.

The latest in a year filled with Armageddon movies such as "Terminator Salvation" and "2012," and it won't be the last, but it's the most chilling so far.