Calvin Wilson

Baby Driver zooms onto the screen with an exhilarating combination of smarts and style.

Deftly balances subtle humor with sharp observations about class, wealth and power.

As a performer, Lister-Jones acquits herself well on both the comedic and melodramatic fronts. And the scruffily charming Pally comes across as a hybrid of Seth Rogen and Paul Rudd. But Armisen’s weirdo shtick is way past its sell-by date.

Mara, perhaps best known for her stint on the Netflix series “House of Cards,” isn’t entirely persuasive as a Marine. But she’s appealing as a young woman who takes control of her life with a little help from an unlikely companion. If you have a soft spot for dogs, this is a love story you’ll find irresistible.

It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.

Working from her own screenplay, director Robin Swicord (“The Jane Austen Book Club”) delivers a film that balances wry humor and sly introspection.

The franchise has sadly devolved into a cynical cash grab.

The Lovers is the rare film that acknowledges that romance isn’t limited to people in their 20s and 30s. It’s also a smart, quirky comedy that moviegoers of any age should find eminently appealing.

Reportedly, at least two more “Alien” prequels are planned. If they’re half as good as this one, prepare to tremble.

Perhaps best known for the HBO series “Sex and the City,” Nixon deftly balances wit and melancholy. And Ehle is empathy personified. This is a film of subtle beauty.

Taylor-Johnson — who earned high praise for his performance in last year’s “Nocturnal Animals” — is riveting as a guy in the wrong place at the wrong time.

Pratt is engagingly rascally as Quill, and Saldana brings a sassy charisma to the no-nonsense Gamora. But as might be expected, Baby Groot steals the film.

In a first-rate cast, Titieni turns in a brilliant performance as a man who sacrifices long-held values to bow to the expediency of the moment.

The film is a criminal waste of an ensemble cast that should have found something better to do than lend their names to such a pointless exercise. Free Fire is a misfire.

If you long for a film in the tradition of such grown-up entertainments as “Lawrence of Arabia” and “The English Patient,” this is one to get lost in.

An engaging comedy-drama that avoids becoming too much of a tearjerker.

Diesel and Johnson are at their testosterone-charged best. Theron, who seems to be auditioning to become the next Bond villain, is ruthlessness personified.

Delivers a feel-good film that nonetheless allows for genuine moments of working-class anger.

Little more than an old-fashioned melodrama, but for some moviegoers that will be enough.

Wilson isn’t a bad film, but it could have used less melodrama and a lot more insight.

About the only shocking thing about Personal Shopper is its perverse lack of thrills.

Some moviegoers will find the experience frustrating; others will be exhilarated by a film that’s far afield from the usual formulas.

The Sense of an Ending does not provide easy answers. But it raises intriguing questions.

It’s hard to imagine a better Belle than Watson, who radiates much the same intelligence and spunk that she brought to Hermione in the “Harry Potter” films. And Dan Stevens (“Downton Abbey”) is excellent as the soulful Beast.

If you’re looking for a film that offers pure escapism, Kong: Skull Island should definitely meet expectations.

If being seated at Table 19 is a drag, watching the film of the same name is worse.

Logan isn’t the typical superhero flick. It’s more like a Western, with Jackman turning in a performance that’s reminiscent of Clint Eastwood in his Man With No Name days.

Once you’re on its wavelength, the film is a mesmerizing experience.

Cinema often shines a light on stories that might have been lost to history, and that’s certainly true of A United Kingdom.

The film is perhaps best appreciated as a showcase for the gifted Simonischek, whose portrayal of Winfried/Toni is one for the ages.

The film offers insights into Iranian society while also subtly making a case that human foibles are universal.

Reeves is thoroughly persuasive as a killer who takes pride in his expertise. The role he began with 2014’s “John Wick” is tailor-made for his laconic acting style.

Working from a lackluster screenplay by a squad of writers, director Taylor Hackford (“Ray”) delivers a film so low in energy that it’s almost as if it was made to assist airline passengers in falling asleep.

Brilliantly blending archival material, including clips of Baldwin on television and in public appearances, with narration by Samuel L. Jackson, Peck makes intriguing connections between the 20th century civil rights movement and the contemporary activism of Black Lives Matter.

Suarez and Ugarte complement each other beautifully, lending Julieta a multidimensional gravitas. And Grandinetti is fine as a man who has no choice but to go with her flow.

Inspired by a true story, Gold is a major disappointment — a film of admirable ambition but woefully underwhelming execution.

20th Century Women doesn’t have much of a plot — if it has one at all. But the film beautifully evokes the era just before Ronald Reagan entered the Oval Office.

Not just another biopic, The Founder is a morality tale that raises provocative questions about consumer culture, its benefits and its consequences. You won’t look at a Big Mac the same way again.

This may not be Scorsese’s best film, but it’s unquestionably his most impassioned.

Far from being exploitative, Patriots Day honors the Bostonians who responded to terrorism with strength.

Still, it’s worth seeing for Affleck’s charismatic performance and for its vision of America as a land of greed, violence and political expediency that some moviegoers will find all too familiar.

It’s a perfect vehicle for Driver, who endearingly captures the hangdog humility of his character. It’s a portrayal that might encourage more people to write poetry. And as the quirky but cheerful Laura, Farahani is just right.

A Monster Calls is the rare film that addresses the mysteries of childhood without succumbing to schmaltz.

Hidden Figures is an admirable attempt to dramatize an overlooked aspect of American history. Working from a screenplay that he co-wrote with Allison Schroeder, director Theodore Melfi (“St. Vincent”) delivers a crowd-pleasing film that often resembles a sitcom but frankly addresses the social inequities of the period.

One of the best films of the year.

Fences is perhaps best appreciated as a showcase for the brilliant acting of Washington and Davis.

Director Garth Davis gets to the heart of the drama without slipping into sentimentality.

The film eventually runs out of rocket fuel, piling on the special effects but arriving at a disappointing conclusion.

Portman is simply brilliant, getting to the essence of Jackie without resorting to a mere impersonation.

Collateral Beauty is based on a premise so preposterous that the film shouldn’t work. But the illusion of credibility is sustained just well enough to keep things from falling apart.

Gosling is terrific as the coolly introspective yet disarmingly charming Sebastian. And Stone is deservedly generating Oscar buzz for her portrayal of an artist who can’t quite believe she’ll ever be anything other than a barista.

Rogue One spins “Star Wars” into a whole new orbit.

If you’ve been wondering how Washington really works, this film is required viewing.

This party is a dud.

The best that can be said for this film is that it’s short.

With Manchester by the Sea writer-director Kenneth Lonergan (“You Can Count on Me”) confirms his status as a major American filmmaker.

Nocturnal Animals is far less imaginative than even your most banal nightmare.

An old-fashioned film that slyly nods to contemporary sensibilities, Allied is an engaging showcase for Pitt and Cotillard.

This halftime walk is more like a long slog.

Far from being preachy, Loving is a beautiful film about daring to love, without fear or compromise.

Shares the magical appeal of the “Harry Potter” movies, which should come as no surprise.

The performances are spot-on. Ali brings depths of feeling to Juan, giving us a drug dealer we haven’t seen before. Harris (Miss Moneypenny in the recent Bond films) is uncomfortably authentic as an ultimately repentant junkie.

Arrival is science fiction in the classic sense and a film of otherworldly ambition.

Far from being just another crime story, Sicario is cinema at its most ambitious.

Doctor Strange doesn’t always make sense — but so what? It’s a mind-blowing special-effects extravaganza, and the most exciting comic-book flick since “Deadpool.”

Certain Women requires patience from the viewer and isn’t for anyone, but it’s a film of quiet and lingering beauty.

Don’t get burned by Inferno.

Timed for the Halloween season, Ouija: Origin of Evil should have horror fans clutching their seats.

Keeping Up With the Joneses is hardly worth the effort.

In an Arnold film, plot is pretty much beside the point. Instead, she focuses on the subtleties of character — and her insights can be both enlightening and terrifying.

Fresh and delightfully offbeat, The Accountant proves that a thriller can be complex and nuanced while fulfilling its mission to entertain.

The fact-based Denial is a well-crafted and skillfully acted drama about standing up for the truth, regardless of how challenging that might be.

This is very much an ensemble film, with Wahlberg, Hudson and Russell turning in performances that get the job done without begging for attention.

Burton delivers his most ambitious and engaging film since “Sweeney Todd” (2007). Although the story becomes increasingly complex as it goes along, the emotional payoff is more than worth it.

An inspiring but formulaic film about triumph over adversity.

Only when there’s an opportunity to blow things up does Fuqua seem fully engaged. Another Western bites the dust.

Don’t be put off by the need to read subtitles. Rarely has a film more eloquently captured the universality of human experience.

Gordon-Levitt turns in an Oscar-worthy performance as a man who’s all too aware of what he’s letting himself in for. And Woodley skillfully balances a range of emotions as Lindsay.

What the film has going for it is a terrific performance from Weisz, who renders Alice at once sympathetic and enigmatic.

It’s hard to imagine an actor more appropriate to portray Sully than Hanks, who brings to the role a bedrock decency and soulful introspection. And Eckhart is perfect as the droll, easygoing Skiles.

Isn’t a knockout of a film, but it’s light on its feet and throws a lot of good punches.

The year’s most exhilarating film.

Working from a screenplay that he co-wrote with Stephen Chin and Jason Smilovic, Phillips delivers a film that raises provocative questions about the economic imperatives of war while masquerading as a buddy comedy.

It’s not necessary to be a classical-music buff to be charmed by this thoroughly entertaining film that never hits a false note.

Suicide Squad had the potential to be as hilariously irreverent as “Deadpool,” a surprise box-office hit about a similarly sociopathic hero. Instead, it’s just another film that relies on special effects to distract the audience from a story that’s overblown and underwhelming.

As a documentary, “Eat That Question” is kind of raggedy. But a more polished film might not have been in keeping with Zappa’s anarchic spirit.

In his best performance since “The Social Network,” Eisenberg is perfectly cast as the neurotic Bobby. But the film truly belongs to Stewart, who brings to Vonnie a haunting luminousness.

Working from a screenplay that he co-wrote with Christopher Rouse, director Paul Greengrass has come up with a post-Snowden film that delivers nonstop thrills.

Written and directed by Matt Ross — who is perhaps best known for his role as Alby on the HBO series “Big Love” — the film raises questions not only about what it means to be a responsible parent but also about what constitutes a meaningful life.

Pine brings a measured but engaging heroism to Kirk. Quinto is perfect as the logical but charismatic Spock. Urban lends the proceedings a much appreciated dose of humor. And even with his famously expressive face obscured by makeup, Elba elevates Krall to something more than a cardboard villain.

This reboot starring some of today’s finest comic actors — male or female — is a wonderfully hilarious and boldly imaginative creation in its own right.

Director Brad Furman (“The Lincoln Lawyer”) does a serviceable job of keeping the narrative elements in play but has trouble making us care.

Looking for a feel-good movie? Fortunately, this film doesn’t qualify.

If The BFG is unlikely to become a cultural phenomenon of the magnitude of “E.T.,” it’s a film that casts a unique and often mesmerizing spell. But it’s also a bit too talky, particularly in the early going, and Spielberg lets numerous opportunities for humor slip by.

If you’ve been looking for a film that puts a daringly surreal spin on “Cast Away,” you’ll be in paradise.

Cenedella may never become a household name, but Art Bastard argues persuasively that fame is overrated.

Aspires to greatness but fumbles badly.

Genius, like most films about the literary life, has trouble dramatizing what’s involved and making us care.