In order to get this stinkeroo up to movie length, they have to move Tom and Jerry into the real world, where a buffet of boring human subplots can pad things out.

Waugh and company combine an intelligent script and a refreshing sense of realism to do exactly that.  I was hooked, and that doesn’t happen terribly often.  Most disaster movies are catastrophes in every way you can measure, but this one gets just about everything right.

As a character study, Nomadland is strengthened by a startling sense of realism: When Fern mingles with the actual people depicted in Bruden’s book, it feels eerily like we’re watching a documentary.

Judas takes an important, unheralded story and tells it well. Unfortunately, the message behind it remains heartbreakingly relevant.

This is a dewy-eyed love poem to Hollywood’s Golden Age: Fincher takes us meandering through studio backlots and into the haze of smoke-filled meetings.

Good intentions and great performances almost hoist the film up out of its familiar groove, but not quite.

Some viewers might find its beginning too muted and its ending too gory, but I found most of it to be just right.

Little Fish is a wonderful film that reminds us just how much who we are is defined by where we’ve been and who went with us a long the way.

I suppose the only good thing about this withering saga of bullies and jerkwads is that it eventually ends.

This is two-thirds of a decent movie, the rest of which strands a powerhouse cast.