This movie, focusing on two small-town kids in small-town America, feels intimate in a way that sci-fi films rarely attempt.
Military Wives deals realistically with the reality of war and deployment—especially its effects on those who stay behind.
This horror pic becomes less and less credible—not to mention and less and less watchable—by the second.
The promise of this witty, PG-rated period piece is briefly undermined by some surprising content.
Valley Girl—a remake of Nicholas Cage’s much raunchier, R-rated 1983 version—still has its fair share of PG-13-level concerns.
The Turning offers a collection of dirty-mirror jump scenes in search of a point. Or a message. Or a story.
When Jesus was at His weakest point, His most vulnerable state, He was tested and tempted by Satan.
Underwater skips exposition altogether and leaps with videogame-like glee into its deadly, high-pressure destruction.
This film feels anything but appropriate for families of young kids—the very audience you’d assume it’s made for.
Wendy is an imaginative and, I think, moving rumination on youth and age, dreams and grief.
This reboot’s empowering messages are ultimately undermined by its content concerns.
The Banker offers respect for capitalism, a social conscience and a sense of fun—not a combination you find often.
While this film is factual, well-made and eye-opening, it isn’t necessarily … enjoyable.
Knives Out layers on a bit more content than your typical Agatha Christie story.
Frozen II is not a slam-dunk, take-the-whole-fam movie for everyone.