By turns amusing and annoying, Young Adult could be the flip side, plus the sequel, of "Juno."

The movie, which drops the postcards but keeps the edge, is a show-biz mother-daughter film par excellence -- Terms of Endearment out of Gypsy. [17 Sept 1990, p.70]

Neither slick nor glib, they all suit a film that may finally disarm everyone with its full-frontal naturalness, its unsmirking bawdiness, its obvious liking for athletes as people, and its refusal (most of the time) to poeticize sport. Personal Best is likable precisely because it is so unembarrassed.

Now and then McGrath's film feels a bit rushed and breathless, but mostly you sink gratefully into its handsomely staged plenitude.

A Quiet Place Part II is effective, all right—Krasinski holds all the keys to turning us into nervous wrecks by the end. But just because you hold the keys doesn’t mean it’s a good idea to use them all. And a horror movie that gives us space to breathe is also more likely to hit us where we live.

Seeing Fincher's version is like getting a Christmas gift of a book you already have. This edition has a nicer binding and prettier illustrations than your beloved old paperback, but it's essentially a reproduction of the same old dragon. Dragon Tat-two.

Despite some rough edges and language, this is at heart a beguiling fantasy of comradeship.

You may leave the movie with Seussian anapests dancing in your happy head. Here's mine: A treat for the eye, an epic event/ This film is delightful, one hundred percent.

Autumn de Wilde’s bright and lively adaptation of Austen’s 1815 novel Emma — its title is Emma., with a definitive period — feels both modern and authentic in the best way, inviting everyone, diehard Austenites and newbies alike, into its embrace.

Well acted, and it achieves a strong, smart, engaging life of its own.

Warrior's three principle characterizations are compelling - Nolte in particular gives a tempered performance as the shambling, sad-eyed wreck of a dad - but not enough to mask the film's lesser elements.

Sleepwalk is oddly soothing, like a cup of camomile tea before bedtime.

An epic-size, largely entertaining parable of repression and awakening.

As much a dark, odd couple comedy as it is a quirky, efficient little thriller.

As reversible misunderstandings grow into irreversible tragedy, it slowly dawns on you that this is a superior, heartbreaking film.

The film is more than a murder mystery and more than a study in character conflict. At its best, it is an intense and complex portrait of an urban landscape on which the movies' gaze has not often fallen.

As long as Training Day stays tightly focused on the struggle between the two cops, the movie is first rate.

Joyous and funny even as it strikes the occasional melancholy chord, Blinded by the Light is a testament to the small miracle of how the right music manages to find us at just the right time, even when it has to travel from New Jersey all the way to that four-letter word, Luton.

Girls Trip is just fun, a movie that—even within the context of its broad, exaggerated humor—never seems to be trying too hard.

This Ed Wood is dead wood.

Before Director Ron Howard and his gargle of writers (Lowell Ganz, Babaloo Mandel and Bruce Jay Friedman) arrange a satisfactorily romantic ending for their odd couple, they also manage to satirize everything from presidential politics to daytime television. They are a jostling, busily observant, fundamentally good-natured crew, and audiences are well advised to take a plunge on Splash.

The film gives Jones (Oxford) a chance to take control of its emotional center, and she seizes it with spectacular subtlety. She proves that behind this Great Man movie is a woman – an actress – who’s every bit her man’s equal.

Sunshine is a trifle schematic. But it also makes you feel, quite poignantly, the crushing tides of history: heedless, inhuman--and tragic.

In 2007, Jamie Foxx won Best Actor for his subtle performance as Ray Charles. Boseman exceeds that solid standard. Incarnating James Brown in all his ornery uniqueness, he deserves a Pulitzer, a Nobel and instant election to the Rock and Roll Hall of Fame.

This is a movie about the way resilience can blossom from vulnerability. No child asks to be a victim of war; sometimes survival, with your soul intact, is the best possible outcome.

Shazam! just breathes, and it’s bliss.

Whoever thought of having evil's final manifestation take the form of a 100-ft. marshmallow deserves the rational mind's eternal gratitude. But praise is due to everyone connected with Ghostbusters for thinking on a grandly comic scale and delivering the goofy goods, neatly timed and perfectly packaged.

The result is an admittedly minor, but authentic, holiday treat.