This is a horror movie the way the original “Ghostbusters” is a horror movie –– that is to say, not really — and like that film, there’s a “hanging out with friends” energy that gives The Blackening its charm.

The Hudsucker Proxy is the Coens' fifth feature in a decade, and you can see their tremendous artistic growth in every frame of the film. Classically composed, beautifully shot by Roger Deakins ("Barton Fink") and co-produced by legendary action-flick producer Joel Silver, Hudsucker has technique and visual invention to spare. [11 Mar 1994, p.C3]

While “André Is an Idiot” serves as a great reminder to schedule some basic health screenings, it also explores how best to find the quality of a life when its quantity is clearly defined.

The jokes in What’s Up, Doc? will scratch a nostalgic itch, but what’s most refreshing about the film is that it shows a lighthearted side of San Francisco, without any superhero spectacle, looming natural disaster or hard-boiled noir themes. It’s a sunny and silly side of the city that rarely gets captured on film anymore, a view of San Francisco that’s worth revisiting.

It tells the amazing, but mostly true, story of a late-18th century aristocrat who made an indelible mark on English society akin to that of her direct descendant, Lady Diana.

In a genre where too many films are all brawn and no brain, Fighting is a contender.

Overall, though, Sandel’s film has heart, some good laughs, and a decent message. In this age of cyberbullying, that’s nothing to scoff at.

Brosnan and Moore display a knack for fast delivery of smart dialogue both in court and in bed. Their verbal sparring is the main attraction of Laws of Attraction and helped me overlook plot holes of massive proportions.

The sooner you let yourself go with Kim's flow, the more likely you are to come away satisfied. Think of it as South Korea's answer to "Memento," just don't think too hard.

In every kids' picture, there are going to be sections that only kids will enjoy. Fortunately, 102 Dalmatians has enough for the adults, too.

The movie has a sweetness and innocence that makes it near perfect entertainment for its target audience.

They don't make 'em like Land of the Pharaohs anymore, but you wished they did.

If The Square has a point — and it probably has several — it’s that the visceral aspect of life cannot be fully suppressed and shouldn’t be denied.

Even when it's hard to follow, it looks good. The undersea action is visually convincing, and Ramius' submarine, with all its rooms and compartments, is always believable. The moonlit photography in the picture's final scene is stunning. [2 Mar 1990, Daily Datebook, p.E1]

Wang deals out absurdist humor with a deft hand, especially in scenes where Ethnos and its corporate videos extoll the so-called joys of whiteness.

What audiences want when they go to a suspense thriller.

A modest chamber piece enriched by its affecting human harmonies and overtones.

This is a funny and moving crowd-pleaser — a South by Southwest and Sundance selection, it won the audience award at the Napa Valley Film Festival and was an opening night film at S.F. IndieFest — and it goes down easy.

A well-paced and entertaining horror debut.

Unless you're a fan of Fishbone, Everyday Sunshine is probably just a documentary about a band you've never heard of, whose music you probably will not like. But there's a bigger and more interesting subject at work in this film. It's a movie about what it's like to almost make it in the music business, but not really, not quite. It's about coming close and watching it slip away.

Depending on your tolerance for talking Chihuahuas, this could make for a fun family night out.

G.B.F. has been unfairly slapped with an R rating, but the film is about as scandalous as a "Glee" episode. It's suitable for young teenage girls, who apparently are far more at ease with the times than the homophobic folks at the MPAA. Don't let their rating fool you: The movie may be thoroughly modern, yet it's old-fashioned, too.

Funny throughout, but with a handful of really hilarious moments.

An inspired and funny vampire comedy, one that’s more than just a smart premise but that remains fun and inventive from beginning to end.

Directed by Everardo Gout, The Forever Purge is non-stop action, which is fine because the script by series creator James DeMonaco, who directed the first three films, never plumbs the depths of its clever concept. The intense, appealing performances by the lead actors get us through.

Don’t expect profundities on the ethics of cloning. And don’t expect Oscar-worthy acting. Senese’s accomplishment — and it’s done with a certain restraint — is to replicate the look and feel of ’70s horror films, which had become more assaultive on audience sensibilities than their predecessors, breaking taboos and borrowing techniques from exploitation films.

Edge of Tomorrow covers familiar ground with unexpected wit and economy, and the result is a thoroughly entertaining sci-fi fantasy.

Remains exciting, even as we laugh at the amateur-night antics of the women.