Fortunately, some of the people around Cameron turn out to be more interesting. The best in show is John Gallagher Jr., who brings out both the creepy and comforting sides of “ex-gay” instructor Rick — a seemingly nice guy who’s oblivious to the harm that he’s inflicting on his charges.

Though the film contains renditions of many of the big hits, they’re so badly performed you’d have every right to wonder what the fuss was all about.

Sly, sexy Las Vegas fable.

All bets are off. For my money, Vincent Gallo wins the Triple Crown of indie filmmaking -- for writing, directing and starring in Buffalo '66.

Tender but unsparing, heartfelt and unapologetic.

Cconsistently entertaining.

In watching The American Nurse, I saw myself not so much in the nurses but in their patients. It occurs to me the nurses are always there, from our birth to death and in between. That in the current pandemic they would need to beg for personal protective equipment is on us as a society. They are our better angels.

This is one of the funniest movies of the year.

Chasing Trane celebrates its subject with great passion, but it often feels like walking in late into a good party.

Monsoon, an offbeat story about a man’s cultural dislocation in Vietnam, is more of a slow drip than a torrential downpour. It’s a lovely film that suddenly and magically can wash over you, then lose you in its opacities.

More than confusing. It's opaque.

The year's best romantic drama.

It exists within a franchise but doesn’t add anything to it, ultimately feeling as hollow as the reanimated corpses it centers on.

It’s smart and funny and makes great effort to capture not just a time and place, but the specific feelings of being on the verge of adulthood and thinking the world is against you.

Colorful and at times quite lively, but I wish it were funnier and its satirical edge a bit sharper.

One wishes Lee’s mother (Judith Light) and stepfather (Sam Elliott) were in the film more; their conversations with Lee about marriage and love rung true. The rest is just empty dialogue.

A film of stark and galling contrasts.

Only a temporarily compelling conflict for a feature-length film.

Adapted by Caitlin Moran, from her own semi-autobiographical novel, it’s both a dead-on take on what it’s like to be a young critic as well as a smart movie about class and 1990s culture.

The movie, based on the novel by Simon Brett, tries very hard to make a statement about the feelings of a man who has struggled for years and suddenly finds himself over the hill, a shutout at work and at home. But the tale falters on Caine's character. [23 Mar 1990, p.E5]

Almost single handedly, [Louis-Dreyfus] muscles “Tuesday” into the territory of being worth seeing.

Has a saccharine quality but also offers a memorable performance by famed Spanish actor Fernando Fernan Gomez.

You can see this Danish offering as a sardonic update of familiar noir material, or simply as the story of the midlife crisis of a guy who wishes - or dreams, or dreads - that he's living out a grand drama. There are pleasures to be had either way.

Charlotte Rampling goes for broke as a sexually rapacious older woman. So does Ally Sheedy as a rich woman. They're memorable, and yet equally satisfying is Ciaran Hinds' sadness and restraint as a paroled sex offender with deviancy in the blood.

To extend the boxing analogy, it's as if Morris, after getting pummeled for 12 rounds, just taps Rumsfeld with his finger - and scores a knockout.

I Am Greta does show why she is a powerful voice. The key to her appeal is her honesty and her “innocence,” or as some would say, naivete.

Pure of intention and passably diverting, His Secret Life is light, innocuous and unremarkable.

A delicious comedy that starts out promisingly as a pleasant gag comedy but then turns unexpectedly into a bright social satire.