This is film as apology, a look back at harder times from a place of greater peace.

“Murder on the Orient Express,” by crassly presuming to improve upon a perfect story, is every embarrassing Hollywood cliché rolled up into one overlong and unmemorable sitting.

George Clooney’s earnestness pairs poorly with the Coen brothers’ moral abandon in a movie that unfolds without flavor, without surprise, and without substance.

“Blade Runner 2049” is a lesser masterpiece than its predecessor, but a masterpiece nonetheless.

Muschietti might have no flair for handling scenes of real-life drama, but when the clown comes out, so does a sure-footed director with a keen eye for pacing and suspense.

Have you ever thought about how women must feel in this crazy world of ours? Because Darren Aronofsky sure has.

Shootouts and showdowns in the snow may seem like corny set pieces, but in the every-man-for-himself world of “Wind River,” they come with the territory.

“Logan Lucky” is fast-paced and occasionally funny, but it’s fatally useless, a lazy piece of escapism that offers nowhere interesting to escape to.

“Dunkirk” may be technically immaculate, but what purpose does a film about the upside of war serve, except to lead us a little closer to the abyss?

“Baby Driver” takes place somewhere between a music video and reality. It may be juvenile, and Ansel Elgort is an unremarkable lead, but the movie has style in spades.