Calvin Wilson

Winslet deftly balances spunkiness and vulnerability, and Elba (still fondly remembered as a surprisingly erudite criminal on HBO’s “The Wire”) exudes brooding masculinity.

Phoenix is perfectly cast as the ethically problematic Abe, whose novel approach to lifting himself out of an existential funk lends the story its suspense.

Skarsgard, who is perhaps best known for "Good Will Hunting" and "Breaking the Waves," makes the most of his rich role, imbuing Ulrik with a knockabout charm.

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

If Barbershop: The Next Cut ends on an improbably upbeat note, the franchise is to be commended for daringly stepping outside its comfort zone.

At once an intriguing character study and a refreshingly offbeat romance.

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

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

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

After a rough start, the film achieves escape velocity to generate escapist thrills.

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.

Stone isn't for everyone. But for all its shortcomings, it is courageously original.

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

If you’re looking for a film that’s just about guaranteed to make you feel good, you’d be well advised to drop by Daddy’s Home.

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

A comic-book flick that’s as thrilling and enthralling as it is pretentious and preposterous. The story is just an excuse for the action sequences, and the Marvel strategy remains intact: When in doubt, blow stuff up.

Although Ready Player One is nowhere near as memorable as “Jaws” or “Close Encounters of the Third Kind,” it demonstrates that the director is fully capable of adapting to the times. What the film lacks in substance, it makes up for in style.

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

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.

Offers an inside look at Iran in all its cultural complexity.

Unfortunately, Garcia can't quite resist sentimentality, giving us an ending that's a bit too emotionally neat. Still, Mother and Child is a thoughtful and provocative film about the way we live now.

Seth Rogen is the Green Hornet. What else do you need to know?

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

Based on a true story, Crown Heights is a predictable but moving story of friendship and perseverance. Writer-director Matt Ruskin elicits strong performances that go a long way toward compensating for the film’s often languid pace.

The Tree might have suffered from too much symbolism if not for writer-director Julie Bertuccelli's deft touch and Gainsbourg's appealing performance.

Whereas "Chill" attempted to define a generation, "Lies" is more of a statement about the nature and limits of friendship.

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

Denham impressively captures Peter's flintiness, rendering him sympathetic yet not quite likable, and Vicius is just right as the wary Lorna.

In the early scenes, Cambridge brilliantly conveys Gerber's obnoxiousness while making him sympathetic. Later, Cambridge imbues the character with a blend of outrage and pride that's breathtaking. [31 Jul 2008, p.8]

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

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.

As a man committed to reinventing himself, Damon is terrific. And Johansson brings to Kelly just the right blend of spunkiness and hard-won maturity.

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.

Annie is not a great movie musical — but it’s a fun time at the movies.

Although the film is frequently brilliant, it’s not quite as clever as it thinks it is. The cast, however, is terrific. Particularly good is Buscemi, who’s engagingly cranky as Khrushchev.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

Although Branagh delivers a film that’s reasonably watchable, the not-so-mysterious truth is that Murder on the Orient Express didn’t need to be remade.

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

Working from a screenplay by Ed Solomon, director Jon M. Chu is more craftsman than poet, but the charismatic ensemble cast engages in the trickery with style.

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 inspiring but formulaic film about triumph over adversity.

Bana ("Munich") makes an effective bad guy. Hunnam portrays Jay as a hero worth rooting for. And Wilde turns in a nuanced performance as a woman in conflict with herself.

Throughout his career, Burton has always been capable of surprising audiences. Big Eyes is no exception.

A film that's as much a character study as it is a crime drama. At the heart of it is Caine's hauntingly memorable performance.

Quite a few filmgoers lament the shortage of movies for adults. Ricki and the Flash goes against that trend with rock ’n’ roll attitude.

The Beaver isn't a perfect film, but it's challenging and original.

Although the story of Sin-Dee and Alexandra might have benefited from a bit more structure, it’s a window into a world of which many people are unaware — but a world that has its share of dreamers.

Page is outstanding as a young woman who has finally found happiness, only to see it cruelly slipping away.

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.

Bernal (“Y Tu Mama Tambien”), an actor of Mexican heritage, brings to the role a charismatic resolve. It’s an impressive and impassioned performance.

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.

What really sets The Man From U.N.C.L.E. apart is its refusal to pander to short attention spans. This is a movie whose charm sneaks up on you, like a spy in the night.

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).

Alma is at once a charmer and a contrarian, and Bergsholm achieves that balance with seeming effortlessness. At times, she's more than a bit reminiscent of the young Jodie Foster.

These days, it’s tough to find a comedy that even aspires to sophistication. The Intern entertainingly fills that slot.

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.

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

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

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.

Smith turns in a subtly layered performance that suggests the hurt behind Kathy's callousness. And O'Donnell gets to the heart of a man who realizes too late that he's made unfortunate choices.

It’s an interesting showcase for Carell, who turns in an uncharacteristically low-key but heartfelt performance. Cranston is more than a bit over the top, but Fishburne balances him out.

Spectre isn’t bad — just slightly disappointing.

It’s not necessary to be a jazz fan to get lost in this poetic and poignant film.

As potential blockbusters go, Batman v Superman is neither as stupid nor as stupendous as it might have been.

Egoyan doesn't flinch from exploring the dark side of curiosity. That includes dealing with sexuality in a way that might make some moviegoers uncomfortable.

A bit slow to get started, and it's nowhere near as funny as "The Hangover." But it'll make you smile.

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

I Feel Pretty takes a while to get going, but it eventually finds its groove and proves to be an amusing showcase for Schumer’s talents.

Perhaps best appreciated as a character study -- about a character some moviegoers might prefer to avoid. Still, it's a smart, funny film that flirts with the edge.

Keanu is an uneven but frequently hilarious comedy that relies heavily on the appeal of Key and Peele.