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A more sentimental but no less geeky Superbad style crude-lite slice of burb teen life, with refreshing hormones-in-crisis humor. Not from the usual yearning for high school popularity 'it'hood, but the terror down below of bottom feeder teen exile.

Hannibal is Godfather III-level slumming.

The inspiration comes in spades thanks to solid work from two leads who could sell corn back to the Field of Dreams. Plus, who doesn't love horseys?

This new version of RoboCop is an entirely different animal, and that's just fine. Gone is the biting social satire...The social conscience is still there, but it's more subtle and more along the lines of commentary than all out satire.

Even Channing Tatum's admittedly glorious naked butt is powerless to prop up the limp, incapable Magic Mike, no matter how many times it shakes itself.

Tracy characterizes a man who becomes materially all-powerful, only to find himself a plaything in the hands of fate. Colleen Moore, making her first appearance in pictures in more than two years, gives an emotional performance.

An uncommon example of purely allegorical cinema, Paul Fraser's film foregoes plot almost entirely in favor of thematic resonance.

The character is too forced and overwritten to be funny or believable much of the time, and Clayburgh doesn't always improve the over-the-top mix.

Everybody likes to back a longshot, and Percy vs. Goliath harvests that desire while getting rid of anything that stands in the way of easy entertainment.

The lip flapping English of the American version is only negligibly more entertaining.

During a time when politics has become more than just a dirty word, Knock Down the House has the potential to make you believe in government again.

The familiar approach doesn't spoil what proves to be an infectiously entertaining epitaph that was well worth the wait.

The few scares present are cheaply delivered, and Kate Hudson continues her streak of mediocrity in below-mediocre movies.

There are better examples of this kind of movie out there.

Like Barb and Star themselves, befriending everyone who crosses their path, it's so winningly ebullient and weird that it can pull in anybody with its cheery Midwestern looniness and make them into an instant convert.

Ghostbusters: Afterlife was the film Jason Reitman was destined to write and direct. Its a cinematic love letter to not just fans of the franchise but cinephiles.

Steers' adaptation of Grahame-Smith's source material is a heck of a lot of fun.

A moderately ingratiating, none too probing and largely predictable essay on the way people fear and embrace their senior years.

There's a pretty good prison saga here, one which gets rudely interrupted by an unimaginative prison break followed by a flaccid romance.

The unusual film works as a curio.

Kaye is a marvel of unbridled energy.

There's a lot to appreciate in a film which is really about the very basics -- life, love and death.

The tale of a 70s schoolboy romance that blossoms into a relationship and is torn apart by the advent of HIV in the 80s.

"The Lighthouse" has only enough story to fill a 25-minute "Zone" episode, and that's including next week's coming attractions and two obligatory and very-welcome monologues by Rod Serling.

What Central Intelligence lacks in depth or inventiveness, it makes up for in personality, steaming along on the robust comic rapport between Johnson and Hart.

Moments that should generate big laughs or nerve-racking suspense seem stunted and half-formed.

Surface-bobbing childhood memories may not deserve movie treatment

Every so often there comes a movie so tasteless, so nakedly pandering, so bodaciously ill conceived that you've got to see it to believe it. This year, that movie is Collateral Beauty.

Writer-director Whit Stillman has been away from the camera since 1998...and the long hiatus from filmmaking shows.

The film tells the complex love story between a humanoid robot and an ordinary woman, asking many questions about what it means to be human with depth, humour and wistfulness.

Persistent sentimentality - manifested most in the music score by A.R. Rahman - undercuts "Beyond the Clouds" at almost every turn.

This is a lovely little film about discovering your inner self, the passion that drives you, and then coming out with it.

There are some scary moments in this film, but basically they're because (1) it reminds you so much of almost every other horror movie you've ever seen and (2) they fill the soundtrack with unsettling and loud noises that would make anyone jump.

The film carries a trace of the sweep of a great screen epic along with the straightforward, explanatory qualities of mass-audience TV, and is never less than absorbing.

This is a most beautifully written film, fabulously performed by those two stalwarts of British acting, Broadbent and Duncan, and directed with sensitivity and restraint by Michell.

It is, of course, a children's film. But the animation is so good (on a par with old-style Disney, in fact) that almost anybody can see it with some pleasure, and certainly parents.

A feast for both the eyes and the ears, this documentary supplements its breathtaking imagery with a lovely classical orchestral score.

A historical epic that even those usually wary of the genre should enjoy.

The scriptwriters have continued their inventive treatment of humanising Santa, while keeping the fantasy intact. Colourful and bright, funny and witty, it's a magical fantasy that will please young and old

Jason Statham is fine as is, as expected, but because so many other characters are one-note it lessens the overall emotional impact. There was a better movie in here, tucked away in the needless time jumps, and you catch glimpses of it here and there.

Do not miss Source Code if you can at all help it. As a modern motion picture, this really is the complete package.

Given the shortage of dancing and soaring vocal melodies...Minnelli must lean heavily on personality and a spectacle defined by the pageantry of historic locations, sets and costumes. [Blu-ray]

Bridges comes along and gives exactly the right perversity to make things fun in a dippy, loopy way, and so the aggregate effect of Seventh Son is not, in fact, boredom.

Enough to make any fan of the book cry — with delight at all the film gets so magically right, and with frustration that the film is still nearly ruined.

It's entirely fair to say that a huge part of the "point" lies in creating a physically plausible version of an illustrated storybook. A+ all around on that count.

"Fasten your seat belt and let's move," says Hasidic Jewish woman Rachel 'Ruchie' Freier early on in 93Queen, and you'd be wise to follow her advice.

Ambitious if airlessly microcosmic.

Awoken is a sharp little horror movie with bite and shocks. It doesn't fall back on cheap jump scares but has its fair share of good scares, gore, and creepy moments. A perfect midnight screening horror movie.

It's a striking film that can stand alongside Blackfish (2013) and Virunga (2014).

This is an absurdly entertaining holiday movie with the attitude of an action romp.

Though it looks like a highly polished, quasi-avant-garde bit of speculative fiction, contemporary French sci-fi flick Eden Log is really a far-flung descendant of the Heavy Metal comics of the '70s and '80s.

Biopic may be fun for soccer fans, but it's too formulaic.

Edward Burns is fast turning from American indie success story to bad Woody Allen imitation with his tired tales of Manhattan.

Looks aren't everything but here they're enough to keep you entertained most of the film. Beyond that, the only way it will have resonance is through the Daft Punk soundtrack.

Not even a Mike Tyson cameo can save Puri Jagannadh’s new film about an underdog who is also a top dawg.

Final Flight of the Osiris

Despite its charms, "The Gentlemen" ends up feeling longer than its 113 minutes for one reason: You've seen it all before.

The film's entire cast and crew prove up to the task, and there's something both comfortably old-fashioned and blazingly contemporary about Aaron Sorkin's screenplay.

More than worthwhile as a closing statement.

Simon Killer eschews easy answers and obvious characterisation and it's all the more impressive because of it.

Doesn’t so much tell a story as capture a moment from a more innocent age...you'd be hard-pressed to find this kind of access to today’s athletes on film

Takeshi Kitano's crazy, weird, indulgent, breathtaking, strangely titled fantasy is as entertaining as it is puzzling -- a marvelous movie about movies with a sense of humor and a surreal streak.

Lingering images, loved for their beauty and composition, the pretty young cast and the contrasting scenes of industrial and scenic Newcastle help keep our attention. At least for a while

JCVD is what you might get if a French deconstructionist decided to make a drive-in flick: It reverse engineers the mayhem until it locates the humor, the sadness, and the insecure void at the heart of the genre.

The kiddies may unknowingly take Irwin and company in acceptable, good-natured doses. But for most adults watching this hollow showcase, they're most likely to yell, "what a darn croc!" Let's put the shrimp on the barbie and call it a day, shall we?

SuperGrid fails to offer anything new to the dystopian road movie subgenre, but it handles the expected tropes in a confident and enjoyable fashion

Spirited main character shines in bleak, mature drama.

If you're easily offended this isn't the film for you.

It's no turkey but a succulent bird, a (hot) pink flamingo with colorful plumage.

Cute but toothless.

[I]t is hard to get too upset at a film that offers these actresses the chance to be entertaining.

Happily N'Ever After only proves that the idea of modernizing the Brothers Grimm for the sake of laughs may have finally jumped the shark.

The sarcastic banter and male chemistry between Treadaway, an outstanding Iwan Rheon, Gerard Kearns and Matthew Lewis provide as much pleasure as the mechanics of the twisted revenge plot.

I wouldn't be surprised to learn she was the one who the filmmakers most identified with since "Swim Little Fish Swim" is just as mischievous and natural, not to mention an unexpected treat as a result.

One of the sweetest cinematic confections of the year. Charlyne Yi is a new star in the making.

Given the powerhouse punch of a scenario, it's perhaps not surprising that Scorsese elected to rework someone else's property while also embellishing it with his own distinctive style.

'Alice in Wonderland meets the East...taking full advantage of the complex powers of anime and its freedom to go wherever the mind can imagine.'

Allen rages, fumes, cries, laughs, tosses back vodka and tosses off sharply pointed verbal and physical barbs at everyone around her. And what fun she is!

Should have stayed lost.

Tells you everything you wanted to know about how a cautious professional hit man thinks and acts.

Tippett has us in the palm of his hands for 85 minutes. As you crawl out of the primordial ooze, you will find yourself unable to look away. Get ready to have your brain melted by arguably the most insane film I've seen in years. Bravo to the master.

In the end, the metaphor dominates. At every turn, the fig tree makes a statement.

After a powerful opening scene and reasonably strong first act, the pic slowly leaks air.

Director William Brent Bell (Stay Alive) and his co-writer Matthew Peterman offer way too much set-up for too little payoff.

Few movies make a better case for reexamining the patriarchal historical truths we've come to accept than the impassioned, intricate Mary Queen of Scots.

[A] perfectly fine film that is elevated to something more courtesy of an absolutely masterful central performance. It's a story of a man's crusade to undo a perceived wrong, even though he likely isn't fully up to the task. Stillwater runs deep.

A thought-provoking inquiry into the generational changing-of-the-guard in law enforcement - and all the qualms that came with it - under Trump's reign.

The film is most tragic and humorous when hints of the outside world break through the suffocatingly cheerful façade of the Villages.

Ayouch has crafted a powerful reminder of how kids can adapt to even the worst of circumstances.

Made-to-order for the singer-actress's target audience, preteen girls and their obliging moms.

Calm is the prevailing mood in Arctic Son, as if director Andrew Walton wanted to reflect the experience of the Gwich'in lifestyle in his film.

The character of Timoteo is so hypocritically conceived that it's hard to watch the movie to the end.

Jude Law turns on the caddish charm in Alfie, but there's little swing to this toothless update of the minor late-60s film.

Karen Moncrieff's melodrama is less noxious than Paul Haggis's race fantasy by virtue of having nothing to say about anything that will be of any importance to anyone.

The ghastly straightforwardness of the proposition itself makes a thrilling start, but the complications that follow result in a film which rivals Deliverance in terms of mounting tension.

An overblown clunker full of bad jokes, howling cliches and by-the-numbers action sequences.

A vital, startling film that is steeped in the noblest traditions of Italian cinema and whose sense of transcendence is accompanied by an equally powerful humanism.

Very forgettable...

Russian Doll, whose title conveys a double meaning, is a find.

We are given the opportunity to get to know their version of James Bond one final time. Is this the very best Bond? I wouldn't know, but I do know this is the very best send-off a Bond could get.