Colin Minihan knows how to make a gnarly horror film.

Doin’ It' isn’t a great sex comedy. I don’t think I’d even call it a good one, so I won’t. But it sure as hell isn’t lazy. Noble intentions are splattered all over the walls, and the overall message isn’t in dispute.

You learn about as much from the movie as you do from the trailer, and the trailer is free to watch and saves you a lot of time.

It’s possible, maybe even likely, that Paul Thomas Anderson has stuffed so much into one movie that a lot of people will find something to take away from it. All I see is the lack of focus.

It’s this generation’s answer to “Cry-Baby” and also distinctly Early.

Driver’s Ed is mildly amusing at best. It’s a good-natured and good-hearted film without much of the edge or hilarity the Farrelly brothers brought to Dumb and Dumber or There’s Something About Mary.

I admire you for trying to make it work, A Big Bold Beautiful Journey, but I think we should both see other films.

Hardwicke and Coogan are tremendously talented actors who give Roy and Mick, respectively, a story worth exploring.

John Candy: I Like Me, made with the cooperation of Candy’s children and his wife, feels like a tale told by friends, but friends who are less interested in promoting idolatry than in showing you why they loved the man.

It’s still the story of an anguished man grappling with death, transplanted to a different world and a different time but still exerting a powerful pull on our imaginations. In one way, it’s an abbreviated “Hamlet,” but in another way, it’s a pumped-up one.

The film takes a situation that could be milked for wrenching drama and outrage, an elderly woman whose daughter tries to sell her mother’s longtime home out from under her, and treats it with lightness and charm.

It’s not that The Long Walk has made walking terrifying — although certainly it’s a fraught and frightening walk. It’s that it makes every trudge through every day remind us of torture.

The more we are taken on this journey through Grace’s early foray into adulthood, the more it earns its classic coming-of-age beats while also cutting into something deeper it can call its own.

Designed as a horror movie for the entire family, the film has its scares, but it’s just too wacky and too much fun to be disturbing.

EPiC is Elvis through the Baz lens, where big and bold is always preferable to straightforward and where going over-the-top is never considered a bad thing. If it’s not revelatory for people who’ve seen the existing films from the era, it’s the most imaginative, generous and entertaining look at a time in which Elvis’ comeback still had real life to it.

A gently appealing and sincere romance.

Director McAvoy is skilled at honing in on the details, never wavering in his ambition to tell a small tale about friendship, its pitfalls, and the lies that result in hurting others.

“The Grand Finale” is pure, uncut “Downton,” but one where screenwriter Julian Fellowes finally seems at peace with not trying to cram in every character into every scene.

Even as Dillon is the one with more to do and dialogue to speak, it’s an outstanding De Bankolé who holds the camera with such intensity that you don’t dare look away for even a second.

Though this film does gesture towards urgent issues, like misogyny being endemic to the modern tech industry, and is genuine in how it seeks to talk about them in a more crowd-pleasing package, it never amounts to being more than one note.

As long as Odenkirk’s grumpy sheriff has his coffee and mustache intact, he is the key to finding the perfect balance. No matter how many blows the film and he take, the joy in seeing him swing freely makes it all good, family fun.

Nuremberg benefits not only from a terrifying performance from Crowe in a larger-than-life role like those that defined the early part of his career, but also from the ensemble of actors.

A film whose quietly flooring opening frames of a vast landscape becoming home to a compassionate story of a Hungarian-Canadian family navigating an uncertain world together already signal it as a major work, writer/director Sophy Romvari’s intimate and incisive Blue Heron only grows even greater from there.

On its face, Eternity is a sweet, spiritual and humorously convoluted take on what dreams may come in The Great Beyond, but it stays true to its premise with outstanding comic range from its cast.

Some outstanding comedy offerings are overshadowed by a few unfortunate B-plots that ultimately fall flat. But the film is sparkling with fantastically funny performances that make a 90-minute comedy worth it in the end.

Etzler wields the film’s urgent satire like a scalpel, precisely cutting away at all the lies we so easily find ourselves telling that mask the darker truths about who we are.

The characters may cut into the cinematic canvas with a knife, smother it with glue, and just generally wreck it, but they can’t destroy what Soderbergh has achieved.

Below the Clouds is a tone poem paying tribute to a region that is suffused with beauty and haunted by loss. It wanders, to be sure, but in a way that’s the point.