Calvin Wilson

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

If you’re open to embracing a film that declines to pander to expectations, you should definitely make a date with The Lobster.

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

A scene involving wolves upset by Seal’s singing is worth the price of admission all by itself.

The film’s true scene-stealer is Bennett, who brilliantly portrays Sir James as a case study in cluelessness.

McAvoy and Fassbender appealingly reprise their frenemy chemistry. But Lawrence has little to do but look perplexed.

A Bigger Splash? More like a small trickle.

Is this a family film? No way. Does it include scenes that some may find painful to watch? You bet. Will you be entertained? Thoroughly.

The multiplexes are full of films that promise little more than a forgettable good time. The Man Who Knew Infinity is just as entertaining, but far more substantial.

Much like its main character, The Meddler exudes an irresistible charm.

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.

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

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

It’s true that not much happens — except cinema at its finest.

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

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

Offbeat and unpredictable, Demolition takes a wrecking ball to audience expectations.

The tale of Jake and his pals is something of a time capsule — and the kind of film from which sociologists decades from now might glean extremely useful information about American culture.

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

If you’re interested in Williams and his music, this film is better than nothing — but not by much.

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

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 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.

If the film is a bit too slow-paced, it’s also uniquely mesmerizing, with performances that perfectly complement the episodic narrative.

This is the kind of film that makes moviegoers long for good, old-fashioned storytelling.

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.

There’s a sharp comedy to be made about America’s misadventures in Afghanistan. This isn’t it.

The story unfolds not as contrived drama, but with all the surprise and inevitability of real life.

It’s Affleck, as a cop whose skills are criminally underestimated, who makes the biggest impression.

Unsettling yet mesmerizing, The Witch is more of an art film than a horror flick.

James makes for a charismatic hero, and former “Saturday Night Live” star Sudeikis is a revelation as the steadfast Snyder.

Where to Invade Next isn’t his funniest documentary, but it may be his most poignant.

Smart, sexy and outrageous, Deadpool delivers.

Based on a true story, The Lady in the Van is a well-acted but somewhat wearying exercise in British whimsy.

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

Daringly unsentimental, 45 Years makes a persuasive case that marriage demands not only patience, but guts.

In a small role as a self-absorbed film producer, Mark Wahlberg is touchingly effective.

With spot-on vocal performances from Thewlis, Leigh and Tom Noonan, the film is nothing less than mesmerizing — and must viewing for serious cinephiles.

As cop comedies go, Ride Along 2 gets the job done.

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

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.

At its heart, Carol deals with the rules that society imposes on individuals, and the courage necessary to throw those rules out the window.

Working from a self-penned screenplay, Tarantino has come up with one of the wordiest Westerns on record, and even some of his most diehard fans may grimace at the film’s occasionally slow pace. But The Hateful Eight more than compensates through its intriguing characters, ominous atmosphere and palpable suspense.

The Big Short is the film that “The Wolf of Wall Street” wanted to be.

Only when the camera is on Vikander does the film transcend its artifice. In one of the year’s best performances, she imbues Gerda with such poignancy and grace that Redmayne all but fades into the background.

Perhaps the greatest triumph of Star Wars: The Force Awakens is that it justifies the enormous hype. Working from a screenplay that he co-wrote with Michael Arndt and Lawrence Kasdan, director J.J. Abrams (“Star Trek”) brings fresh energy to the franchise while adhering to the storytelling values that made it matter in the first place.

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

An oddly uninvolving adventure story.

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).

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.

Often, extending a film franchise signifies a lack of imagination. But Creed is a knockout.

If you think they don’t make movies like they used to, Brooklyn is glorious proof to the contrary.

Keaton, who deserved an Oscar for his performance in “Birdman,” brings to Robinson a bracing blend of humor and authority. Ruffalo is the essence of the newsman who just won’t quit, and McAdams is just as effective as his more low-key colleague.

As shaky as the situation it depicts.

Spectre isn’t bad — just slightly disappointing.

With visual and psychological precision, Abrahamson brilliantly evokes the experience of living outside of everyday reality. And he does so without resorting to either creepiness or sentimentality.

Provocative, intelligent but just a bit underwhelming, Our Brand Is Crisis — inspired by a 2005 documentary of the same name — plays as if the filmmakers started out with Oscar aspirations but ultimately weren’t up to the challenge.

As original and risk-taking as its subject, Steve Jobs will make you think differently about an American icon.

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

As the deeply principled Donovan, Hanks deftly balances earnestness and humor. And Rylance’s spirited performance is almost certain to yield an Oscar nomination.

Working from a screenplay by Jason Fuchs, director Joe Wright seems overwhelmed by the material, and he fails to make us care about any of the characters.

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.

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

Working from a script co-written with Christopher Browne, director Robert Zemeckis (“Forrest Gump”) pulls off a fabulous trick of his own: delivering a mainstream entertainment that has, at its heart, a poetic sensibility.

In a way, Stonewall is proof that the gay community has fully made the transition to the mainstream. It’s now subject to the kind of Hollywood nonsense that was previously reserved for heterosexuals.

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

Oyelowo and Mara achieve terrific chemistry. Perhaps they’ll work together again — in a better film.

Best appreciated as a movie about being obsessed — a character trait that’s certainly not limited to chess masters.

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

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.

Films often fail to capture the turmoil of being a teenager — but not this one.

An offbeat and fascinating film.

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.

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.

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