Leigh Monson

'Cyrano,' starring Peter Dinklage, suffers from the desire for realism that has been a plague for many modern movie musicals.

Belfast is entertaining and not without moments of charm, but is largely insubstantial.

'The Lost Daughter' is a quiet, thoughtful film about imperfect people, hinting at an imperfect truth.

George Clooney’s latest directorial effort, 'The Tender Bar' is a watered-down cocktail lacking in any flavor.

Aaron Sorkin's 'Being the Ricardos' is as effective as it is because it has a killer ensemble, including Nicole Kidman and Javier Bardem, and knows how to utilize them.

'Encanto' is an extremely charming film, deeply insightful into the paradoxes of familial entanglement while remaining relatable to an all-ages audience.

Rich jerks are prime fodder for trashy fun, but ‘House of Gucci’ only seems to understand that sometimes.

‘Ghostbusters: Afterlife’ is like staring into the abyss to find nostalgia devouring itself whole.

For as compelling as Will Smith is in 'King Richard,' it just feels strange that Richard Williams should be the focal point of this particular story.

Kristen Stewart and Pablo Larraín compellingly capture the essence of Diana's life through a lens of terror and existential dread, cementing 'Spencer' as one of the best films of the year

It’s doubtful that 'Finch' is going to blow anyone’s mind, but it's hard to begrudge the film its charms.

'The Beta Test' is occasionally hilarious, but nowhere near as insightful as it thinks it is or wishes it were.

'Last Night in Soho' is blatantly playing with feminist commentary that it doesn’t fully grasp.

The French Dispatch is as rich and poignant an experience as any of Anderson's other films, albeit with exhausting caveats.

Even if we hold on to the imperfections in the recreation, 'The Spine of Night' shows it's worthwhile to preserve modes of storytelling that might otherwise pass into antiquity.

'Louis Wain' goes through the motions of a standard biopic with only an occasional acknowledgment that a distinctive life probably deserves more artistic flair in its presentation.

However much the film is limited in its feminist perspective, the sheer technical competence and strength of the performances makes 'The Last Duel' an entertaining tale.

The reminder in 'Freeland' of the individual human cost of social progress is empathetic, prescient and needed.

It’s hard not to respect just how big of a swing 'Blue Bayou' is, even if it doesn’t quite have the focus to follow through.

'Shadow and Bone' is trying to show way too much in too little time, leaving its best intentions emotionally stunted and inert.

'Everybody’s Talking About Jamie' is inoffensive enough. However, given the subject matter, it might have been worthwhile to give a bit more offense.

There needs to be more to modernizing a classic than slapping a coat of corporate-approved girl power on top.

An interesting plot twist sandwiched between some nicely lit shots is just not enough to hang a film on.

Leave your brain at the door, because 'The Protégé' isn’t going to teach you a damn thing.

A battle between two old guard forces would have been better served by a film that didn’t hold pretense of following up one of the best crime thrillers of recent years.