Encanto

In certain respects, this movie is trying way too hard. But beyond that surfeit of effort, it is funny, clever and charming in a most heartfelt way. Unlike many a Disney story, this one is mostly villain-less. That’s because what really lies at the heart of the tale are the challenges of family dynamics and how those can be difficult if not impossible to overcome. That makes this story relatable to practically every viewer, even in the face of its very specific cultural foundation (which the film pushes very hard). Perhaps it is due to that cultural grounding that the animation here is an over the top riot of color and movement; the very nature of the visuals reinforces the perception that this is, despite its somewhat untraditional setting, a fairy tale that lives in a world removed from where most of us reside. The only real complaint comes from that overly energetic telling of its tale, a frenetic presentation that rarely gives the audience a pause to soak in any one character or tableau. We see that in the songs, too; while lively and catchy, they are mostly impossible to catch on first listen (and I doubt they’d be easy to follow along even with the benefit of a singalong’s subtitles). But when taking in the overall effect, you can’t help but enjoy the package as a whole—no particular miracle required.

John Wick

Shakespeare it ain't. And I imagine that a lot of the plot points would not hold up under rigorous scrutiny. But oh, man--is this movie a hoot to watch. You pretty much know everything that's going to happen long before it does, but it's still wonderfully kick-ass, and entertaining to see it anyway. One of the real delights here is the terrifically and comprehensively imagined underworld of violent yet weirdly urbane criminals--a milieu in which everyone understands each other with barely a nod and dirty deeds can get done (though not necessarily dirt cheap) by just speaking one well-known phrase. You may need to check your brain at the door--and not be easily offended by violence; if you are, stay away from this neighborhood--but you will have a rollicking good time with this one.

Romeo + Juliet

The middle member of Luhrmann's "Red Curtain" trilogy (though, strangely, minus the curtain), and undoubtedly the least successful. That's not to say it's bad; given the screenwriter (Shakespeare) you can hardly go wrong. It starts working once they begin playing it somewhat straight, and by the end the power of the tale has its effect. But many of the actors seem too lightweight for their roles, and some of the overwrought touches just don't work here.

Moulin Rouge!

It succeeds in spite itself. I wasn't sure what to make of it...and then Ewan McGregor began singing "Your Song," and I was hooked. He's great, and Nicole Kidman holds her own, but the real star is director Baz Luhrmann's staging and direction (particularly the art direction, with the "3D postcard" views of Paris). And it gets better upon repeated viewing, especially if you glean its literary predecessor (the myth of Orpheus, in particular). The end result is tremendously larger than the sum of all its odd individual parts. A "Best Of All" inductee.

Summer of Sam

Spike Lee tries to capture 44 caliber thrills, and it almost works, but it's a little long and doesn't make the expected impact.

Spawn

There's been a lot of press about The West Wing lately, but this is how I like to see Martin Sheen play a politician: sleazy, and in serious need of an ass-kicking. Michael Jai White, as the titular super(anti)hero, ultimately provides the required foot. Plus John Leguizamo gets off a few good lines, and the effects are awesome.