Roberts wraps his audience around his finger and then points us in the direction of gruesome, darkly humorous devilry.

For a movie that should provide the comfort of the romance genre, People We Meet on Vacation usually tops out at being blandly pleasant.

These Greenland films may not always have a coherent point, but when they focus on the nuts and bolts of survival and the toll that surviving takes on these characters, they’re efficient, effectively crafted genre pictures.

It’s easy to appreciate the ambition of Gaines’ new take on Dutchman, but the original tale is fighting back, and it’s got the upper hand.

There are some moments where the film clings a bit too heavily to genre tropes, but thankfully, its main focus is on coping with loss and the complexity of grief.

I’d say if The Plague wasn’t nominated for Best Original Score there’s something terribly wrong with the Oscars, but The Plague didn’t even make the short list, so there’s just something terribly wrong with the Oscars.

Life is too damn hard to get so damn mad about a sweet, mostly effective drama like Song Sung Blue.

This new Anaconda is so busy talking about how silly it is to make a new Anaconda that it never actually makes a good 'Anaconda.

In the end, The Whole Bloody Affair doesn’t do enough (or perhaps does far too much) to justify its existence to the everyday cinephile. However, Tarantino superfans will undoubtedly lap the film up like cream and, in the end, a director got the opportunity to finally share his true vision with the rest of the world. That’s a net win here.

Glorious, angry, hilarious, nail-biting fun from a director, writer and cast who all know exactly what they’re doing, and relish in the fact that they’re practically getting away with murder.

The only way ‘Avatar: Fire and Ash’ could be more hypocritical, and taken less seriously, is if the characters also yelled “Hypocrisy sucks!” while sitting on Whoopee cushions.

Not Without Hope never completely comes together but when it works, it’s absorbing disaster filmmaking."

Skarsgård is a captivating chaos gremlin, and Montgomery is — in an easily overlooked, but absolutely vital role — an exceptional foil.

A sadistic delight, just like its predecessor.

Goodbye June is just hyperemotional tourism. We’re lookie-loos popping our heads in for the saddest moment in this family’s lives. We don’t even get to know them very well.

Scarlet' might be [Mamoru Hosoda]'s most narratively ambitious work to date, adapting and warping one of the most famous tales ever told, adding new layers of complexity, and centuries of new, invaluable context.

It’s one of the best, most deeply felt and most gorgeously animated features of the year. On this or any other planet.

Ella McCay' is a film about American politics in the same way that Pixar’s 'Cars' is a movie about cars. As in yes, these are definitely films about politics and cars. But no, politics and cars don't work like that.

Despite one wonky misstep, it captures some real magic.

However depressing 'Rosemead' is, and it’s depressing in all italics, it’s just not deep enough to make running this gauntlet worthwhile.

On one hand this reads like a Chaucer story, albeit a modern one that tackles topics even Chaucer would have struggled with. On the other, arch is still arch, so it may be hard for some audiences to appreciate Jackman’s wavelength.

There are no small parts in a Michael Showalter movie. Every actor is a star when they’re on camera.

Shallow self-congratulation for American moxie at the expense of everyone and everything around us.

There’s nothing groundbreaking here, but it’s a perfectly enjoyable continuation of the story that introduces new players into the ensemble and literally expands the world of Zootopia in a mostly entertaining and meaningful way.

It’s not just "Netflix holiday rom-com good." It’s actually very, very good.

Road to Revenge is everything you could want from a rough-and-tumble, tough-as-nails action movie. 'Sisu' was even more of it, but only by a matter of degrees.

Even as all the comedy to be found within this setup had already run dry a full movie ago, The Family Plan 2 keeps going back to the well in the desperate hope that there are still a few drops left.

The romantic part of Johnson’s rom-com barely reaches a low simmer, but the comedy part burns a little brighter.