Contributor: Paul Asay

This movie tells us that Samson was “a man whose heart was as vast as his strength.” It seems to take its cues from Braveheart.

For all of its restraint in some areas, this movie’s twisted spirituality is as bothersome as its spirits.

The Death Cure serves as a dissatisfying ending to an only passably serviceable franchise.

12 Strong is a previously classified true story populated by heroes.

Both aesthetically and morally, this film is a minor disaster.

I, Tonya is presented as a dark comedy, and yes, it can be funny. But it’s a tragedy, too.

Molly’s Game may leave viewers feeling like they’re holding a bust hand: cards that look promising, but that add up to nothing.

Film Stars Don’t Die in Liverpool is the sort of movie that, one might argue, Discerning Filmgoers Won’t See in Theaters.

This drama is meticulously crafted, both covering and revealing vulnerable truths underneath. But it’s unsettling, too.

It’s not fake news to say that this story is pretty compelling.

For a story that wants to give viewers a moral, universal fairy tale, its gratuitous moments sure restrict its potential audience.

The Last Jedi isn’t perfect, morally, spiritually or aesthetically. But I think it’s the best Star Wars film since the original trio.

Just Getting Started? I couldn’t wait for it to end.

Woody Allen goes dark with Wonder Wheel, a movie far more bleak and more adult than its PG-13 rating would suggest.

Explicit content turns The Disaster Artist into a bad movie about a bad movie.