Based on Doug Stanton’s non-fiction book “Horse Soldiers,” “12 Strong” is both conventional and unconventional in its approach. Structured like a traditional war film, it’s also the first time (to my memory) we’ve seen modern warfare on horseback on the big screen.
“Paddington 2” isn’t just a kid’s flick, it’s a film for the whole family; it’s one of those rare movies for children that doesn’t just feel like an excuse to sell toys, says film critic Richard Crouse.
'Downsizing,' for all its ingenuity, gets bogged down in its second half, though the opening hour is inventive. The film flits from one issue to another so quickly it’s like channel surfing, says film critic Richard Crouse.
Finding a balance between the nostalgia many aficionados hold for the iconic series and moving it forward in an entertaining and organic way is a juggling act, one that director Rian Johnson has pulled off in 'Star Wars: Episode VIII – The Last Jedi,' says film critic Richard Crouse.
Film critic Richard Crouse says Gary Oldman hits a career high as Winston Churchill in the "Darkest Hour." Underneath layers of makeup and with a cigar wedged in his face, he brings history to life in a performance that goes far past impersonation.
Film critic Richard Crouse says some will complain that the glib tone of "Thor Ragnarok" completely overrides the film’s serious side but the gags and the home-is-where-the-heart-is message make this one of the most human and humane Marvel character movies yet.
“Breathe” doesn’t have the gravitas of “The Theory of Everything”—it spends too much time trying to wring all the emotion out of the story like tears from a sponge—but it does have compassion and heart, says film critic Richard Crouse.
"Happy Death Day" is not a thrill-a-minute movie but in addition to the fun performances, it also has a few vulgar laughs, a few shocks and enough twists to be worth the price of the popcorn, says film critic Richard Crouse.
Fans of the original will find much to like in “Blade Runner 2049.” It’s a skillfully made movie that works as a companion piece to Ridley Scott’s film and as a detective mystery, says film critic Richard Crouse.
As a portrait of women's rights and the sexual revolution of the 1970s, “Battle of the Sexes” covers a lot of ground but does so in an entertaining although slightly overlong way, says film critic Richard Crouse.
“Patti Cake$,” a story of big dreams and hip-hop glory, introduces two major new talents to the world, writer, director Geremy Jasper and star Danielle Macdonald. Together they present a movie that is gritty, sweet and quite unforgettable.
“The Hitman’s Bodyguard” mixes and matches all the usual action movie flourishes—exotic locations, violence, jokes and romance—but succeeds because of the match between its leads, Ryan Reynolds and Samuel L. Jackson, says film critic Richard Crouse.
'Dunkirk,' the new war epic from director Christopher Nolan, could be one of those rare movies—rare like a unicorn or a modest Kardashian—that comes out in the summer and earns a Best Picture nomination.
“Spider-Man: Homecoming” is easily the best web tale since 2004's “Spider-Man 2,” says CTV's film expert Richard Crouse. Crouse says the film is the most diverse entry in the Marvel Universe to date and one of the most entertaining.
“Despicable Me 3” isn’t terrible, but it doesn’t have the spark of the other films in the series. The film raises a smile when it is in silly mode but is less successful when it defaults to being a capital ‘F’ family film, which is far too often.
'Transformers: The Last Knight' doesn't take itself as seriously as some of the other entries in the series, so that’s good, but like the other “Transformers” movies, it’s too long and gets lost in an orgy of action and gravity-defying stunts.
As an action film, 'The Mummy' is little more than a formulaic excuse to trot out some brand names in the kind of film Hollywood mistakenly thinks is a crowd-pleaser, writes movie reviewer Richard Crouse.
At this point in history the superhero 'origin story' is about as welcome as head lice or burning your tongue on hot coffee. The odd one gets it right. 'Batman Begins,' 'Deadpool,' and Iron Man' all kicked off their franchises with style and I’m happy to add 'Wonder Woman' to that short list, writes movie reviewer Richard Crouse.
On the surface 'Baywatch,' the big screen reboot of the cheesy 1980s television show, is about beach bunnies who uncover a criminal plot that may bring with it trouble to the Baywatch lifeguards. That’s the logline, but in reality it’s actually about nostalgia, hard beach bodies and the inestimable charisma of its star (and possible U.S. presidential candidate) Dwayne Johnson.
Alien: Covenant is the second instalment in the 'Alien' prequel series and the sixth film in the franchise overall. Its director Ridley Scott's follow-up to his 2012 film 'Prometheus,' and the origin story for one of the most fearsome alien species ever, the Xenomorph.
'Guardians of the Galaxy Vol. 2' is a mix of high-tech and lowbrow that breaks the sequel curse. It’s a tad too long, succumbs to CGI overload in its final moments and the free-to-be-you-and-me messaging feels tacked on but it is so much fun you’ll forgive its transgressions.
'Colossal' may be the strangest rom com ever made. Director Nacho Vigalondo has taken the basic format—woman in trouble returns to hometown and strikes up a friendship with a former schoolmate—and turned it upside down. And inside out
'Smurfs: The Lost Village' may have an adult subtext but unless a surfing pun—'Let’s go smurfboarding!'—cracks you up few over the age of fifteen will find the journey particularly engrossing. This is first and foremost a kid’s movie without the pop culture references that sometime add a layer of maturity to keep things interesting for parents.