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Hobo with a Shotgun certainly delivers on its promises of excess.

A long, vulgar ad for Hillary...DeMonaco may have something to say, but his movies remain too stupid to say it.

There's something about [Agustina] Macri's style and Daniel Ortega's cinematography that makes this film look distinctly South American despite its Italian setting.

Logan has bite that leaves a mark. Surprisingly, that biggest mark is left on the heart.

Hawn and Russell are so cute together and so into it, I 100 percent believe that they actually are Santa and Mrs. Claus, who have come down from the North Pole occasionally throughout the last few decades to star in some movies in their spare time.

This breezy documentary goes heavy on adulation and light on insight.

A movie with a more sitcomic premise you are unlikely to find.

It manages to juggle the rat-a-tat-tat humour with a sturdy emotional heft.

Eastwood shows that he's still capable of carrying a mildly compelling drama with moderate wrinkles, low stakes, but enough human drama to please his dedicated audience.

Parece desistir de qualquer traço de originalidade em seu clímax, quando se entrega a todos os clichês do gênero: mal-entendidos, mocinhos obrigados a correr atrás da mocinha pela rua e, claro, o insuportável travelling circular do beijo romântico.

Detective Pikachu is a lightning bolt of fun for those that enjoy adorable creatures, an entertaining if predictable mystery, and Ryan Reynolds being Ryan Reynolds as a caffeine-addicted yellow rodent capable of summoning electricity

It can make for an exasperating ride, since the filmmakers fudge the line between earnest manipulation and flip self-mockery.

Andy Serkis' film is more political, bloody, and even more adult. [Full Review in Spanish]

Understated yet deeply felt, Holmes' portrait of people who only have known hard times never strikes a false note, even when Josh Boone and Jill Killington's adapted screenplay wanders too far afield.

The savage documentary aesthetics lends an unwavering sense of realism, and matched with Jacobson's lack of sentimentality, renders this world in the real.

Crass, crude and sledgehammer- subtle. Yet, you can't help giggling yourself stupid, even at the more obvious sight gags.

Le Pupille feels like the kind of cinema you appreciate or respect more than you enjoy or rewatch.

The gap between difficult reality and filtered social media fantasy is ruthlessly exposed in this ingenious character portrait from Swedish film-maker Magnus von Horn.

By crafting an intricate and engaging story out of this country's most despicable 'weapon' in the war on terror, it's possible that its message may be more well-received than the dozens of damning documentaries that have preceded it.

A complete tonal mess, this movie makes a mockery of the Black Lives Matter movement and insults African American women the most. The filmmakers think the best way for Black people to fight racism is to become criminals and perpetuate racist stereotypes.

Ever since the credits rolled I've been able to think of little else.

We've seen it all before and, to be honest, the Vacation package had already lost its ability to elicit even faint smiles and chuckles toward the end of its run.

Perfectly innocent, unexpectedly charming.

As far as its own multiple personalities go, Shelter gives you your pick of exhausting, grim and absurd.

Even with his glossy new look, Charlie Brown remains the Charlie Browniest.

A sobering, thoroughly riveting look at homosexuality within a devoutly religious, archconservative society.

... managing to convey nothing for the mind or soul in its over two hours of excessive overkill.

Rex, who has a colourful background of his own, is charismatic enough to leave no doubt about Mikey’s powers of persuasion. The question is whether audiences will tolerate the company of someone who starts out bad and gets worse.

more than the sum of its facile narrative parts.

Anderson's dreamy documentary Heart of a Dog is one of her more outwardly accessible works, and also one of the best movies of the year.

The Art of Self-Defense manages to clarify the filmmaker's intriguing vision by stuffing it into a remarkably unnerving character study.

In The Overnighters documentarist Jesse Moss found his story and pursued it with remarkable empathy, all in the best traditions of the genre.

Looks terrific and has a refreshingly new voice cast in place that helps offset the parts of the film that feel overdone and too familiar.

I think the most important aspect here is that this subject is at least being addressed.

Suffers from a lack of conviction.

Black Adam lacks the spark DC was looking for.

Full of style and cinema to the top. [Full review in Spanish]

I don’t think it’s possible for me to like “Skinamarink.” I don’t. I won’t. Ever. But I think it’s good. Maybe even very good. Maybe even something legitimately special. This went from an F- reaction to a, well, you can see.

Shot in 1975 but not released until 1981, this documentary by James Szalapski captures the nascent stages of a poetic country music played by Texas outsiders like Guy Clark, Steve Young, Townes Van Zandt, and a young Steve Earle.

I enjoyed Happy Death Day when it came out 18 months ago, but I was still skeptical of the idea for a sequel.... I'm pleased, therefore, to report that the sequel blows up the original's setup and pushes its genre-bending fun into new territory.

If Edgar Allen Poe were alive today, working as a Hollywood screenwriter (God forbid), I suspect he'd be penning not the abysmal script for The Raven but something called The Fall of the House of Cusack.

This kind of story always manages to generate a bit of juice, and both Howard and Bernie Mac do their best to add character to the proceedings.

Flashes of color, lightning cuts, and the camera spins and needle drops are at times overwhelming, but it’s an overall enjoyable experience that washes over you in waves of excitement.

If you like your innuendo sweet and weird with a dash of obvious emotional manipulation, you'll likely crush hard on Barb and Star Go to Vista Del Mar.

It does nothing original, even if it does it fairly well.

Well-crafted domestic melodrama stays lightly likable.

A hilarious and heartfelt ode to female friendship.

This is fluffy stuff, but these actresses are just so witty and charming that it's a delight to watch them enjoy themselves and each other on-screen.

A rollicking romp providing proof positive that love, I mean luv, conquers all, even a hot head with a very short fuse!

It's not bad so much as alien, like a romantic comedy made by someone who's researched human behavior but had very few brushes with it in person.

Destined for a long life in museums and history classes alike, this is cinema as art, and a classic.

The costumes, armor, castles, makeup, creatures, and special effects are all grander in scale than the predecessor.

Nothing comes as a surprise, and viewers will be pondering how certain things managed to occur -- especially involving the villain's apparent super-human strength.

T3 is so petrified by its predecessors' conventions that it moves a little like the Terminator himself, with monstrous rigidity and stiff-legged deliberation.

The actual telling of [these stories] comes across as mere gossip.

The main draw here is the raucous fun to be had watching each character inhabit the other's underpants.

Sorkin has delivered a well-conceived, fast-paced account of one of the most heinous and controversial trials in American history.

This is Guess Who's Coming to Dinner meets Six Flags' Kingda Ka roller coaster after surviving a car wreck while winning the lottery.

The movie doesn't work because it feels like you're watching a really good R-rated film "edited for television".

The Christmas turkey has landed, in the form of 20th Century Fox's worst blockbuster ever.

The director gives us a hypnotic and hardened visual language and a staging that would be tremendously theatrical if it weren't for a brutally precise montage. [Full review in Spanish]

Residue is a furious, ferocious film, both a love letter and a middle finger to the one-and-only Chocolate City.

Propels really important messages and reflections... [Full review in Spanish]

As strange as it may sound, Clint Eastwood is trying, through his movies, to become a better person.

Unfortunately, The Other Side of the Wind is more a historical document that is fascinating for admirers of Orson Welles but it's not a good movie.

The movie is bland. Which is a crying shame when the source material has so much flavor.

So dull and unimaginative in its presentation - talking heads, an overused score that might as well have been downloaded from a free database - that it makes for an unfortunate match of subject matter and form.

Eritrean-Italian filmmaker Gianfranco Rosi shot his fifth documentary, Fire at Sea (Fuocoammare), with such care that it often feels more like a narrative feature than a nonfiction film.

[Taylor] takes us on a ride that's consistently surprising, easy to watch -- but, oh, so dumb.

Awkwafina... injects a refreshing dash of street culture to a cast and story line that leans heavily on haute couture.

This 3-hour film isn't the same as watching an afternoon of Olympic activity on American television, since Ichikawa isn't particularly interested in winners or stats or medal counts by country.

Colorful homespun harness racing film, that is also a coming-of-age drama.

Vengeance is not only tolerable as a film, but Novak is actually insufferable in all the right ways.

Audiences will be won over from the first sequence.

The movie feels a bit light and silly, but its more inventive emotive undercurrents can help us see ourselves from an unusual perspective.

Restless and bracing, "Wojnarowicz" gives a notorious life its due.

There's no real terror or dread in it, just the same old meat-puppet gore and cattle-prod scares served up with a kind of ritualized self-satisfaction.

The downright wackiest, most laughable thriller to come down the pike so far this millennium.

An intense, personal, supremely self-confident feature-length documentary.

All too often, Tim Burton's movies feel like they're covered in flop sweat, as if he's trying too hard and worrying too much. By contrast, Corpse Bride is a cool breeze across the brow.

Spanks the 2016 film and sends it off to the corner to think about what it did. This one is the definite article: Gory, grim, bleakly funny. Full of feverish, anarchic energy and exhausting cynicism.

It seems just a long, convoluted ploy to get men into drag -- period drag, no less.

There are hints of untapped potential in Emma., in the visual detail, the witty dialogue and performances, the baby steps into deconstruction of a classic tale, that feel wasted in service of just providing what is expected.

I had a good time watching it, but I could always see the filmmakers just offscreen, holding up the big table the Legos were scattered across, sweating and straining to keep the whole thing from toppling over.

Well-acted and reasonably engaging period piece. And it suggests Keira Knightley is at her best when she's in "costume dramas" such as this.

Another empty, heavily voice-overed perfume commercial.

Enjoyable movie about the trials of being a teen.

Green is all surface and no depth in his effort to channel the late novelist William Faulkner.

Fly Me to the Moon is not a great movie. It's not even a good movie. It some ways, it's barely passable. Yet my litany of criticisms will fall on deaf ears - so long as those ears are attached to children roughly 5 to 10 years old.

A 'nature strikes back' environmental horror film and not a film about the French as some of you wiseguys might have thought.

[The Terror Of Hallow's Eve] has a tendency to lose its own voice amidst all the recycled material and it never quite recaptures the fun of its first scare.

Still an expert mix of sentiment, comedy, patriotism and anarchy.

Bustling, glittery, uninvolving.

Reign of Fire is a good show, hampered by the gnawing suspicion that it could have been better.

The story is flimsy, simple-minded and often nonsensical, compounded by some obtrusively abysmal supporting cast choices.

How does a pacifist prevail in an ugly, hostile world? How do children grow up in a world of isolation, alienation, grief, and bullying? The Danish film In a Better World won the Academy Award for Best Foreign Language Film dealing with such issues.

Corporate Animals feels like it was written as a spec script for a sitcom that ended up being stretched out for a feature film, much to the detriment of the narrative.

It's a thrill to see that some movie stars can still do it all... exhausting, exhilerating stuff.

A more seasoned filmmaker could have given the it more depth and focus but I am glad I learned of this intriguing story of justice (or, injustice).

Meandering, occasionally funny, wannabe fanciful.