Calvin Wilson

This isn't just another crime story, and it would be misleading to suggest that it has anything to do with stylish gunplay, exhilarating car chases or brutal fistfights.

Brilliant performances aside, Clouds of Sils Maria is overlong and much too self-indulgently an “art film.” It might have benefited from being just a bit more grounded.

The Big Picture ends perhaps a bit too ambiguously, but there's something refreshing about its faith in the moviegoer's intelligence.

Portman is eminently watchable as Lena, who slowly realizes that she’s in way over her head. And “Ex Machina” star Isaac virtually redefines creepiness.

Like Elizabeth Olsen in "Martha Marcy May Marlene," Oduye brilliantly slips inside the skin of a sensitive young woman who's having trouble finding her place in the world.

A far more interesting film than its title implies. And a film you’ve never seen before.

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

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

Director David O. Russell ("Three Kings") delivers a film of staggering impact.

An enthralling lament for an era in which beauty is in danger of becoming extinct.

Oyelowo takes full advantage of his close physical resemblance to King, but he wisely avoids mere impersonation, delivering a performance that’s as sensitive as it is spellbinding.

As enchanting as it is ambitious.

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

The performances are first-rate, with Lindhardt particularly moving as a guy who's in deep denial about just how much he can expect from a relationship with an addict.

Black Swan is ridiculously over the top, but in a way that makes it fascinating to watch.

Sophisticated comedies have gone out of fashion, largely because Hollywood finds it easier and more profitable to simply gross out moviegoers. But Please Give has real class -- and for that it deserves our gratitude.

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.

Superbly acted, and a return to form for Tavernier, who guided jazz legend Dexter Gordon to an Oscar nomination for "'Round Midnight" (1986).

Tatum is terrific as a sort of anti-Clooney, and Driver complements him perfectly.

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.

One of Pixar’s most charming achievements.

There’s less a sense of hitting plot points than of capturing life on the fly, and Mendelsohn and Reynolds ride that vibe brilliantly.

The success of the three, separately screened films -- the first set in 1974, the second in 1980 and the concluding segment in 1983 -- depends not on their specifics, but on their ability to sustain an atmosphere that's appropriate to the dark but haunting story.

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

The vocal performances are spot-on, with Murray a standout as the slyly manipulative but ultimately courageous Baloo.

At once a fascinating character study and a scathing indictment of the role of the medical-pharmaceutical complex in exacerbating the AIDS crisis, the fact-based Dallas Buyers Club is one of the best films of the year.

One of the best films of the year.

An ideal showcase for Tomlin, who brings to the film a winning blend of contrariness and effervescence.

Chi-Raq is a mess — tonally inconsistent, overbearing in its earnestness and badly in need of editing. But it’s also director Spike Lee’s most passionate film since “25th Hour” (2002).

If you think foreign films can’t compete with Hollywood when it comes to delivering popcorn entertainment, prepare to be carried away by The Wave.

The film is hard to watch, but its timeliness is impossible to ignore. Still, a case could be made that Bigelow dwells on the violence a bit too obsessively.

Naysayers will no doubt argue that mother! is an incomprehensible mess. But as sheer visceral filmmaking, it’s a must-see. If you’re looking for meaning, read a book.

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.

James Franco is fascinatingly weird as Wiseau, and brother Dave Franco complements him perfectly as a regular guy who has little choice but to go with his flow.

A sophisticated comedy about New Yorkers who might easily be mistaken for characters in a Woody Allen movie.

A rebuke to the genteel period costume dramas that have long reigned as arthouse staples. Working from a screenplay by Alice Birch, director William Oldroyd turns the genre on its head, penetrating the pretty exteriors that conceal wild and dangerous emotions.

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

Has been criticized as endorsing or condoning violence, but that assessment is unfair and inaccurate. If terrorism is to be eliminated, it must be understood, not oversimplified.

Aside from art-house fare, American movies of recent decades have tended to ignore even the most urgent social problems. Despite its lapses into melodrama, 99 Homes is a thought-provoking exception.

Boldly original, The Revenant puts everything else playing at the multiplexes in the shade.

The fact-based Stronger is an inspiring tale of reconciliation and reinvention that sidesteps sentimentality to get to emotional truth.

Might be mistaken for a mere soap opera. But it's actually an emotional symphony.

An engaging but problematic film. Working from a screenplay that he co-wrote with Laura Terruso, director Michael Showalter (“The Baxter”) seems a bit uncertain in his approach.

A provocative mood piece. Nichols, who had an art-house hit in 2011 with “Take Shelter,” has a gift for creating characters of unusual depth, and for eliciting performances of emotional resonance. With Mud, he seems to be edging closer to the mainstream, but his skills are as sharp as ever.

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.

Mistress America doesn’t quite achieve the magic of “Frances Ha.” But it’s a fresh take on the comic possibilities of friendship among the young.

It’s an old-fashioned tale of an individual overcoming the odds — only in this case, that individual happens to be a horse.

It's an original that plays as if it were based on a novel.

Bernie could easily have gone horribly wrong. But Black and Linklater finesse this tricky material with as much virtuosity as Bernie brings to that broccoli.

Not many films address motherhood with as much irreverence and insight as Tully.

A gripping account of a pivotal moment in the early days of World War II, grounded by an Oscar-worthy performance by Oldman.

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.

At once funny and poignant — and not just for moviegoers of a certain age.

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

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.

At the end of the day, it’s still a comic-book movie, but one that actually raises serious questions about security, accountability and revenge.

Cooke is particularly impressive, imbuing Amanda with a chilling misanthropy. Taylor-Joy plays Lily as a bit too sympathetic, but she nails the character’s cluelessness. And Yelchin, who died in 2016 at the age of 27, turns in a performance that’s as quirky as it is memorable.

Put aside any hang-ups you may have about subtitles. As action flicks go, Point Blank is right on target.

Cruise is as watchable as ever, bringing to Hunt a blend of steeliness and vulnerability.

A must-see — and one of the best films of the year.

A Bigger Splash? More like a small trickle.

Psychological thrillers just don’t get any better than this.

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.

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.

This film might easily have settled for mocking religion. Instead, it's a fascinating glimpse into a culture that forces some people to choose between fitting in and opting out.

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.

Into the Abyss makes a strong case for the inhumanity of capital punishment, regardless of the crime or the criminal.

The storytelling is solid, propelled by characters that you come to care about.

As popcorn entertainment, it's right on schedule.

One of the silliest and least substantial of recent comic-book movies — a jokey, unapologetically nonsensical romp that makes “The Avengers” look like “The Godfather.”

An intense, provocative drama about religion and its impact on those who embrace it as essential to their lives.

A film that's all the more intriguing for being virtually impossible to categorize.

This is the kind of intelligent, thought-provoking mainstream film that’s in danger of becoming extinct. Eye in the Sky is miles above the average multiplex flick.

An inspiring but formulaic film about triumph over adversity.

As biopics go, The Iron Lady is among the more intriguing ones.

Friedel turns in a poignant performance as a man who feels that he has no choice but to act on his principles, regardless of the consequences.

The rare film that will remain on your mind long after you’ve left the theater.

This is the feel-bad film of the year. Recommend it to someone you hate.

What's lacking is a galvanizing performance comparable to that of the Oscar-nominated Catalina Sandino Moreno in "Maria Full of Grace." Still, The Forgiveness of Blood is a memorable portrait of a society and the demands it makes on those caught up in it.

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.

Working from his own screenplay, director Brian Helgeland clearly has a feel for the Krays’ criminal milieu, but it’s not long before repetition sets in. There’s only so much brutality that even the most bloodthirsty audience can tolerate.

Cold in July has all the qualifications of a midnight movie in the making.

Not many science-fiction films can accurately be described as poignant, especially those from the kitschy 1950s. But The Incredible Shrinking Man (1957) definitely qualifies. [26 Jun 2008, p.4]

It's one of the funniest and most perceptive films of the year.

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.

An absorbing drama that represents director Ridley Scott (“The Martian”) at his best.

An art film in the classic sense — ambitious, provocative and hard to shake off.

Unfortunately, Hail, Caesar! comes across as far less than the sum of its parts.

Manages to waste the talents of its strong supporting cast, which includes Thomas Haden Church, Patricia Clarkson, Lisa Kudrow, Malcolm McDowell and Stanley Tucci.

This is a smart, moving film that's also very, very funny.

The film is a raw, unsparing look at the downside of humanity.

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.”

Wysocki is perfectly cast as a teen who's at odds with both his environment and himself. It's a terrific performance. And as the empathetic Fitzgerald, Reilly is at his quirky best.

Based on a book by Brian Selznick, Wonderstruck is a visually striking film that’s uncompromising in its approach — less about narrative momentum than about surrendering to the power of images.

This is the rare mainstream film that addresses the complexities of real life. Brad’s Status may motivate you to question your own.

The film isn't quite as edgy as Fincher's best work - "Seven," "Fight Club" and "Zodiac" are masterpieces of modern angst. But the director brings a fresh eye to what might easily have been an unnecessary rehash of the 2009 Swedish adaptation.

Macbeth takes liberties with the particulars of the Shakespeare play, but is fascinatingly true to its spirit.

Starts out so promisingly that it's a huge disappointment when it ultimately becomes way too predictable - and unbelievable. It's as if "Raging Bull" suddenly morphed into "Rocky."