A dreamy fable of just-so proportion and asethetics...this literate and richly strange film has layers of meaning available to the viewer.

An abundance of fun, with high-spirited action (including dazzling space battles and impressive lightsaber duels), dry wit, and dramatic contributions to the Star Wars mythology. 

Favreau and Marks have obviously put some thought into the film’s visual approach and the messages...: the animal kingdom’s unexpected threats and opportunities...the work Mowgli puts in to come of age...his casual kindheartedness...

The first thing I did with De Palma was Scarface...A De Palma set is a very different kind of set than a James Gunn set or a Paul Greengrass set...He likes it extremely quiet on the set...

[Vol. 2] starts only a couple of months after the first one...understand, from Kraglin's point-of-view, that Quill did double-cross them...And so the movie starts from that jumping-off point of 'I'm not sure everything is feeling great in Ravager-ville.'

People['s]...imaginations are going crazy as to what [Eddie] could be next. And I would love him to have powers and come back. Especially now with 'Flashpoint'...

Too closely resembles the narcotic world it depicts. Without ever doing anything conspicuously wrong, Equals plays like one big miscalculation...

[Krasinski:] I needed to make sure that we weren't making a 'movie family,' that you could project your own family into them. It had to feel like your family, it had to feel like your hometown...it had to feel like you were living through this with them.

I'll say this for Tell Me That You Love Me, Junie Moon. It's a film that takes a big roll of the dice. Is it wrenching? Is it wacky? Well, it's definitely weird.

It's difficult to imagine how Ash vs Evil Dead could be any more fan-pleasing than it is...packed with all sorts of looney fun that conjures back up the "splatstick" style Raimi and friends popularized.

Old-school bank robbery meets the new economy—and the New West—in Hell or High Water, a lean tale of cops and robbers, cowboys and Indians, and customers and bankers.

Captures something of runaway modern greed, played out as a bro movie from bro stars and a bro filmmaker...[but] might have been a fresh classic of political satire instead of a crime comedy that plays as sub-Scorsesean riff.

Pushed the culture-shock of kitchen-sink drama further with its female protagonist and depictions and discussions of interracial coupling, teen pregnancy, the possibility of abortion, and homosexuality.

[Groff:] We're seeing Patrick become a man and sort of come into his own. And be okay with not having an answer...I didn't consciously try to put myself into Patrick, but inevitably...when I'm playing a character, it starts to bleed into my everyday life.

Bergman's effortlessly poetic diary and letters provide more evidence, though patently unnecessary, of her artistic temperament, her lyrical view of experience.

It's comforting to know Once Upon a Time is there as an entertainment families can rally around, and one that will challenge them thematically as much as it panders by playing in the Disney sandbox.

While Anthropoid tends to the sober and dour, it also breaks into the brutal, the intense, and the emotionally devastating, all the right 'moves' for a war story of moral heft compromised by Pyrrhic victory.

A legitimately fascinating central character...Not surprisingly, Streep expertly shades every eccentricity, embodying Jenkins in her musical waywardness...

Season Three of The Blacklist upped the show's game with slightly more adventurous writing that made the show a more consistent bet from week to week.

A movie so far up its own posterior that it includes the threatening exchange 'They made a womb float for Mother’s Day?' 'I can’t wait to see what they do for Father’s Day!' Well, I can.

A novel but muddled supervillain action movie...Some comic-book fans will lap it up, but Suicide Squad is all sauce and no meat.

[Taplitz:] Life may not always be fair, or good, but there's certainly moments of it that can be quite amazing...What [Jake] learns from Tony is to be sure of himself, to be there and to be proud of your decisions.

No one knows how to direct a movie, no matter what anybody tells you. Nobody knows how to direct a movie until you've directed a movie.

When this thriller has to turn the screws of its climax, its fundamental stupidity surfaces.

On a daily basis, you're re-calibrating, if not an hourly basis, trying to do the right thing by your children...They're only in the house so long, and I'm curating their lives.

Terrified to do anything different (which, believe it or not, would be entirely possible)...it only takes a moment of awareness to step outside the movie and see how poorly written, insultingly recycled, and anti-creative Jason Bourne is.

What works (marginally) in this instantly forgettable entry: a few diverting character moments...fan-serving fairy dust...action, action, action.

The mammoths and their mammalian buddies...take direction from [a] lunatic weasel...to SAVE THE WORLD by DIVERTING THE PATH OF AN ASTEROID (emphasis mine).

The film’s saving graces are the uniformly strong performances...and its intriguing subject matter...[but it] develops third-act problems as it devolves into calculated contrivances, didacticism, and sentiment.

Moves at a rhythm akin to the gently lapping waves...yet somehow swiftly establishes the personalities of the three sisters, a contradiction that speaks to the resonance of the performers and Koreeda’s skill at eliciting emotional truth.

Should you see Sony’s new Ghostbusters remake? Yes. Yes, you should. Will you be entertained? Yes. Yes, you will. Will you also be a little annoyed? Well, yeah, probably...it’s all a bit too self-consciously self-conscious...

Needlessly starting out on such a false, bombastic note emblematizes the film's mistake of blowing up the character past what made her recognizable, and thereby funny, in the first place.

Has more genuinely funny moments than most so-called comedies at the multiplex, abetted by Waititi’s now-practiced comic sensibility, his stylized snap of performance and editing.

From the evidence of Thorsten Schütte’s found-footage documentary...Zappa saw the interview as sometime endurance test, sometime amusement, and all-the-time chess match he could never lose, played as it was against lesser lights.

For Zeus's sake...as warm and fuzzy and comforting (or not) as a Disney Channel show marketed more to parents than to their kids.

Even if the material's not always up to the title's ironic reference to wit, the cast and their director carry the day with a good stock of laughs.

If the plotting at first feels overly familiar (and, in many ways, is), its elegance becomes apparent in the reinvigorating final movements, which also confirm Finding Dory's ultimate theme of building self-confidence through self-discovery.

If Zootopia only reluctantly comes around to its crime-solving story, that’s understandable: the good stuff resides in the characterizations and the morality play around them, decrying fear of the other.

When there’s somefin strange...in your neighbor’ood...’oo you gonna call?

As adapted by screenwriter John Niven from his own novel, Kill Your Friends has a decidedly been-there, killed-that feel to it.

In a way, the amusing, preposterous Hail, Caesar!, for all its arch postmodernism, becomes what it pastiches, resembling the kind of '50s film we can now watch and admire for a kind of cultural reflection without exactly considering it a success.

A dark crime drama the rough-and-tumble Samuel Fuller no doubt would have loved.

The sort of film to starkly divide audiences: hard cases will wince at the clichés and Clarke’s performance; starry-eyed weepie fans will get what they came for.

For all its failings, including the crime of not being exhilarating, X-Men: Apocalypse remains a competent sci-fi actioner.

A not-unpleasant 98 minutes that’s nevertheless understocked with comic zest and thematic incisiveness.

Enjoy The Witch for what it is: a refreshingly baroque respite from the jump-scares that typify today's horror.

Investigates the nature of our need for a partner (who else will apply that pain-relief cream to the small of your back?), how we cling to superficial similarities to justify our matches, and our denial, at our peril, of our animal nature.

One can easily understand why this story swiftly became Coast Guard legend...but its dim wall-of-grey visuals and narrative longueurs make much of the two hours a challenge to the attention span for viewers of any age.

Even though 'Anger is not always the answer,' sometimes it has to be, or there’s no movie, and here’s where The Angry Birds Movie will divide audiences.

Osmond doesn't belabor style in any way, opting to shape the story simply and directly through the new interviews, available archive materials, and efficient montage.