A pretty picture, but a diluted plot.

We hear a lot about ‘toxic masculinity,’ and how everything traditionally associated with men is bad. Seeing 1917 reminded me of how ridiculous that is.

The film powerfully expresses the need for veterans to discover hope by keeping the memory alive of those who made the ultimate sacrifice.

Shelby, more than anyone, has to juggle what’s best for the car and driver and what’s best for the pockets financing the whole endeavor.

What is clear and stands on firm ground historically are the racial politics then and now that continue to influence zoning and elections to keep people of color poor.

Like its protagonist, I Am Patrick is not unfamiliar with disruptions to a mission.

A stylish movie with fast editing and eye-catching photography, and good acting performances, but it loses some momentum.

The darkly funny horror film serves up very bloody humor.

It lacks the joie de vivre of The Full Monty but communicates the value of community that cements friendship and feelings of belongingness to one another.

Consecutive scenes mark how immediately some life moments recount the past.

The Sundance sensation is the funniest and most unpredictable movie of the year.

The closing moments remind us of the ongoing power of Patrick’s spirituality.

It’s a gritty, moving, heartfelt film that explores the heart of a man in pain.

This flamboyant delivering of more than promised feels like something that Harley would be pleased to become known for.

This is both a warning shot about male privilege and encouragement for women to speak up about equity in the workplace.

The effect, overall, is that of a middle-aged, milder version of the unlamented "Jackass" franchise.

Authentic yet original, powerful yet not over-dramatic, simple yet stirring, all at once.

Distinctively projecting feelings of rising paranoia, it is about corporate greed.

No great movie, but it is, as Hitchhiker's Guide to the Galaxy said of Earth, "Mostly harmless." That's rare enough to earn it a qualified recommendation.

The prevailing impression is left by Franz and Fiala’s strong direction, not their so-so writing