Garrett Mitchell

Wendy is not glossy by any means but it feels like an escape from the soulless live-action Disney remakes audiences have become accustomed to.

It's clear that de Wilde adores Emma, for all her challenges, just as much as her fictional admirers. And audiences should fall in love with her again, too.

Procedural and uninspired, the Vietnam War-focused melodrama The Last Full Measure isn't as strong as its real-life hero.

The script to this flop doesn't even have enough laughs to amuse someone in the most boring of orthodontist waiting rooms.

Though the stories explored in Bombshell are explosive, the film's uneven pace makes them merely sizzle like reading a news brief instead of an illustrative Vanity Fair profile.

Of course blackmail, shady business dealings and overdoses abound in Johnson's crafty tale. He masterfully maneuvers today's political maelstrom with ease and makes these would-be caricatures into people who could very well be sitting next to you for a Thanksgiving feast.

Banks' enthusiasm and respect for the history of this franchise takes it from retrograde to fresh within minutes.

Though it's certainly well-acted, the quiet film is a retread of familiar recent dramas about doomed heroines like in "Still Alice." But this version prompted me to look up one-way flights to Portugal instead of weeping about a character's looming destiny.

Captivating and grim, The Lighthouse is a tempestuous descent into a briny abyss urging its audience to pack a life preserver.

Britt-Marie Was Here succinctly crams in plenty of overwrought tropes but maintains a sentimental heart with its prickly heroine. Is it revolutionary? Not by any means. But is every journey of self-discovery supposed to be?