Dungeons & Dragons: Honor Among Thieves feels like Daley and Goldstein, who also co-wrote with Michael Gilio, asked ChatGPT, the artificial intelligence chatbot developed by OpenAI: “Write a Marvel movie except with ‘Dungeons & Dragons’ characters.” Seconds later, this spit out.

The fight climax and very interesting resolution cap off an exhilarating two hours of entertainment — and suggest a sequel to come. Hope there is one.

Both revealing and evasive.

Viewers will be swept away by the beauty of individual moments and by Ivan Barnev's extraordinary performance.

Lacks one thing -- an epic grandeur.

Ends up musing perceptively on the American dream of wanderlust and its unintended consequences.

There's tremendous maturity and skill in Felicia's Journey but also a sense of impending horror that's bound to repel some audience members -- even though the violence is all implied.

Eschews cliches and cuts to the truth.

Sinks into melodrama.

Plays like a holy, erotic mood piece, steeped in so much subdued jungle fever that it practically runs on photosynthesis.

Inspiring and largely unsentimental, this is as much a love story as a tale of courage.

If ultimately Slow West seems more like a filmmaking exercise than an engaging piece of work — despite Fassbender’s star presence — that’s all right. Filmmakers need to get their exercise. Let’s see what Maclean does next.

The writing, by Adam Mansbach, and direction, by Vikram Gandhi, are competent without being terribly sophisticated or daring. Terrell’s performance elevates the film, though.

John Ford and Mervyn LeRoy directed this fine adaptation of the stage hit, a comedy-drama about a first officer on a cargo ship (Henry Fonda) who wants to be reassigned to combat duty. [05 Jul 1998]

It’s fascinating to return to this movie after many years. [2024 Restored Version]

An engaging, absorbing portrait of a moment in time when the Beatles were at their zenith.

Don’t be misled by the middling rating attached to this review. Midsommar is anything but mediocre. It’s horrible and brilliant, a crashing failure but one with many good moments. What do you say about a movie that’s both a disgusting, tiresome and predictable endurance test and an irrefutable demonstration of real directorial talent? Perhaps, this: Ari Aster is definitely someone who should be making movies. But maybe not this movie.

Tasteful but not compromised.

Though “Society of the Snow” has its moments, it’s difficult to see what was gained by telling the story as a dramatic feature. Yes, in a documentary we’d lose the amazing crash scene, but the story would otherwise be better served by a straight laying out of the facts.

Die My Love is not plot-driven, with events that don’t necessarily follow one another in cause and effect. Rather, it’s a slow-burn psychological drama populated by imperfect people struggling with painful realities. Instead of a dramatic arc, it’s a dramatic decline.

Shame has a lolling pace and stunning visual clarity. Structurally, it's close to perfect - its precision echoed in the Glenn Gould piano recordings of Bach keyboard works that Brandon listens to obsessively.

Akeelah and the Bee connects where it counts most, on an emotional level. Only a curmudgeon could watch this feisty but vulnerable youngster rack up victories against all odds without tearing up.

To their credit, directors Chris Metzler and Jeff Springer, both of San Francisco, poke gentle fun at the locals without ridiculing them. The film's playful spirit is underscored by catchy steel-guitar melodies (courtesy of the Friends of Dean Martinez) that perfectly suit the bone-dry setting.

If nothing else, you'll surely relish the extravagant rhetoric used by Ali Mahdavi, the club's artistic director, to describe what is basically a tasteful nudie revue.

A weird and near-perfect polyglot of indie art film and noir mystery.

Cumberbatch fleshes out a portrait of uncompromised and resolute selfhood. In that way, he carries us and the movie over some long stretches of blue-screen emptiness.

Polanski directs the film without a wasting a moment. The occasional humor does nothing to relieve tension but, as in a Hitchcock picture, has a way of increasing it.

In The Suicide Squad, writer-director James Gunn has done the seemingly impossible: He has found the fun in the Suicide Squad. He has come up with a way to take what seemed like a dead concept and turn it into an action-packed joke machine.