Calvin Wilson

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.

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

This film might give you the urge to check out a comic-book movie.

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.

Ant-Man and the Wasp is a vast improvement on “Ant-Man” (2015) — and one of the most entertaining releases from Marvel Studios.

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.

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

Bonnaire, whose films include "Vagabond" and "Monsieur Hire," gets Helene just right, registering her joys and disappointments with finesse.

Our Idiot Brother is smart entertainment.

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

If you’re looking for a film that’s guaranteed to have you gripping your seat, this is It.

Beirut is a solid political thriller that makes the most of St. Louis native Hamm, who is still best known for his starring role in TV’s “Mad Men.”

Lacks the urgency of "Who Killed the Electric Car?" But Paine's thorough knowledge of his subject, and engaging way with an interview, make the follow-up film a fun ride.

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.

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

As a drama about coping with hard times, The Company Men doesn't come close to being as sharp or entertaining as "Up in the Air" - which starred Wells' "ER" associate George Clooney.

Zobel's unsparing approach is justified. This film should be hard to watch - and it is. But it's also hard to forget.

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.

A beautifully realized drama that gets to the essence of what it's like to be young, confused and in love.

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.

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

As a tale of a boy, his dog and their battles with bad guys, it's a treasure.

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

$9.99 may not be entirely successful from a dramatic perspective, and it certainly offers little enlightenment about the meaning of life. But the film is so intriguing in other ways that it's definitely worth a look.

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.

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

As memorable as it is insightful, Take This Waltz is one of the best films of the year.

Teller turns in one of his best performances as the contemplative Adam, who’s haunted by the choices he made on the battlefield. And Koale brings a poignant vulnerability to Solo.

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.

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

As the highly focused Hanna, Ronan - who had a breakout role in "Atonement" - is simply brilliant.

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.

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

The Well-Digger's Daughter is perhaps a bit too sentimental. But the performances are so heartfelt that its occasional excesses are easily forgiven. In a movie summer too often obsessed with things that go boom, this film is all about romance.

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

Although their latest film is not without a certain charm, it quickly wears out its welcome.

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.

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

If you're interested in a drama about a few days in the life of an American abroad, you may find Cairo Time engaging. But for some viewers, it all may be just too subtle.

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

On its own terms and against all odds, "Outrage" is adequately entertaining, with more than enough cringe-inducing violence and cruel humor to please the average American moviegoer. But true Kitano fans will find its title sadly ironic.

The film will be of particular interest to foreign-policy wonks, but it also plays well as a drama about the limited ability of any president to have a lasting impact.

A flawed but intriguing new chapter in animation.

Particularly memorable are scenes in which Calvin loses his cool as Ruby holds onto her calm. It all adds up to a movie that's sparklingly entertaining.

A terrific but uncompromising film that's definitely not for everyone.

An emotionally involving drama that deftly sidesteps mawkishness.

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

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.

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.

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.

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.

One of the freshest and most entertaining films of the year.

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

Smart, sexy and outrageous, Deadpool delivers.

The film’s greatest asset is Reynolds, who in Deadpool finally found the role of his dreams. Reynolds totally sells the character’s blend of reckless self-absorption and reluctant heroics.

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

Nev and the filmmakers prove to be charismatic, and at times hilarious, investigators of the unfolding mystery.

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

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

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

The Debt eventually settles into a predictable groove that slightly undercuts its impact. Still, it's a film of ambition and substance.

Liman and Cruise previously worked together on the brilliant but overlooked science-fiction flick “Edge of Tomorrow.” Their latest collaboration, which boasts one of Cruise’s best and most charismatic performances, deserves to be a hit.

A wonderfully acted and stylishly mounted tribute to a screen legend in danger of being forgotten. Unfortunately, the film focuses too much on Grahame’s illness and eventually succumbs to melodrama.

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.

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

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.

Episodically structured and lethargically paced, the new film attempts to convince us that there's something incredibly charming about an old guy who makes a habit of ogling young women. Actually, the whole scenario is pretty creepy.

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

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

Maudie is a work of art.

Shot mostly in black and white and imbued with a romanticism that's at once nostalgic and exhilarating, Tetro sneaks up on you. What threatens to be a mere exercise in style proves to be as involving as it is inventive.

If you’ve got a hankering for a Western, Hostiles is must-viewing.

Pleasant, well-acted but somewhat overlong, The Way was written and directed by Estevez, who's perhaps best known for his acting career ("The Breakfast Club").

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.

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

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

An inconsequential mess.