Keith Watson

It’s said that casting is 90% of directing, and it seems to be 90% of the writing in Bill Holderman’s Book Club.

James McTeigue’s Breaking In is the sort of incompetently constructed thriller that gives B movies a bad name.

It captures the pictorial beauty of old-fashioned farm life, but Xavier Beauvois is careful not to romanticize hard labor for its own sake.

The film rarely presents a clear analysis of Ruth Bader Ginsburg’s victories, reducing her work to empty slogans.

It arrives on home video ready for canonization as a new family-friendly classic, and this Blu-ray transfer immaculately reflects its inviting warmth.

Rather than pointing the finger at society for inducing insecurity in women, I Feel Pretty suggests the onus is on women to change their attitudes.

Given the sheer amount of comic material in Super Troopers 2, some of the jokes are bound to fall flat, but the hit-to-miss ratio is depressingly low.

It flattens Maryla’s personal story into hazy generalities about tolerance and the value of remembrance.

Yes, deep down, even brutal war criminals like the one played by Ben Kingsley are people too.

Kay Cannon’s Blockers approaches the randiness of her female characters with unvarnished frankness.

The film is a dazzling collage of styles and approaches in which every scene feels different from the one before.

Lynn Shelton’s film firmly resists supplying its main characters with easy, you-can-have-it-all answers.

Arthur Conan Doyle’s legendary characters feel as if they’ve been air-dropped into a universe where they don’t belong.

Like the play, it makes something so viable, tense, and compelling out of the anxious boredom of trench warfare.

The Strangers: Prey at Night is content to deliver a few jumpy thrills before slinking away into the night like one of its murderous marauders.

Thoroughbreds is about the disastrous perils of too little empathy, but it never evinces much of its own.

Coco receives an expectedly resplendent home-video treatment, sporting a demo-ready A/V transfer befitting the film’s visual and musical splendor.

Icy absurdism and sorrowful ironies abound throughout Foxtrot, whose laughs stick in the throat like silent screams.

Mark Perez’s screenplay maintains just enough plausibility to prevent the film from veering into sheer absurdity.

Nick Park’s talents often serve only to highlight the fundamental lack of inspiration at Early Man’s core.