Calvin Wilson

Best appreciated as an exercise in style. Based on Martin Booth's novel "A Very Private Gentleman," the film establishes and sustains a mood of suspense, but Corbijn seems only minimally interested in conventional thrills.

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.

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

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

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

Washington is surprisingly persuasive as a world-weary blade-wielder, and Oldman makes the most of a not particularly interesting villain. But the film's breakout star may be Kunis, who brings to Solara a blend of sassiness and sexiness that's reminiscent of Michelle Pfeiffer.

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.

Highly enjoyable while you’re watching it, but it’s not particularly memorable.

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

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").

In his affect and attitude, he’s refreshingly free of bluster. And it’s almost unbelievable that a man of his power and prestige insists on maintaining such a modest lifestyle.

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

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.

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.

Good Time is not so much a crime drama as it is a meditation on the genre’s virtues and limitations.

Webb delivers a film that’s somewhat derivative, but succeeds as a welcome alternative to superhero extravaganzas.

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.

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

The been-there, done-that nature of the plot doesn't take away from the undeniable sweetness found in Just Wright.

It's simply an opportunity to spend time with characters who may lack depth but are fun to watch.

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.

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.

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.

The acting is first-rate. Gosling masterfully fills in Luke’s motivational blanks, and Cooper nicely handles Avery’s evolution from idealist to manipulator.

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.

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.

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.

Suburbicon is a flawed attempt at dark comedy, but it’s hardly the disaster that critical buzz would have you believe.

Doesn't rise to classic status, but it's an intriguing mood piece.

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

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

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

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

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

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

To the Wonder teeters between experimentation and incoherence. Does it deserve to be seen? Absolutely. Just be aware of what you’re getting into.

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

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]

Director Roar Uthaug (“The Wave”) delivers a state-of-the-art popcorn flick that’s at its best when the focus is on the spunky Lara rather than the special effects.

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

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

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.

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

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.

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

Perhaps best remembered as a showcase for Stuhlbarg, who delivers a poignantly beautiful monologue that eclipses everything else in the film.

Foster (“Hell or High Water”), who is best known for portraying unhinged and dangerous characters, is intriguingly enigmatic as Will. And Harcourt McKenzie turns in a hauntingly memorable performance.

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

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

$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.

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.”

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.

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

Isn't as memorable or provocative as it might have been. But it's an engaging love story that should appeal to moviegoers with a flair for the offbeat.

Green Zone can't make up its mind whether it's "The Bourne Insurrection" or "Hurt Locker: The Prequel."

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.

Stölzl blends romance and melancholy in fine style.

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

Hotel Artemis is neither a sequel nor a remake, but a film of considerable originality. And that makes it a rarity at the multiplex.

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

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

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.

Plays as if Tillman studied the works of director Michael Mann ("Heat"), but got a C on the final exam.

Fulfills its mission, which is to be a crowd-pleasing tearjerker.

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

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

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

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.

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.

Delivers a story that feels more like a footnote to history than a neglected chapter. But the cast is first-rate, notably Neeson in the title role. “Mark Felt” benefits mightily from his very particular set of acting skills.

Wahlberg is merely OK. Unfortunately, the film’s effectiveness turns on whether we buy into his angst. And Larson has very little to play. But Goodman and Williams are believably menacing, and Lange is perfect as Bennett’s mom of steel.

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.

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.

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.

Working from a screenplay by Susan Coyne, director Bharat Nalluri maintains a pace that brings to mind a wagon loaded down with too many Christmas trees. Though the movie has a great look, it’s short on storytelling magic.

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

As shaky as the situation it depicts.

Director Nicolai Fuglsig delivers an action drama that gets the job done without ever catching fire. But the well-chosen, charismatic cast makes the most out of the material.

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.

An adequate action film, but it lacks the envelope-pushing artistry of the original.

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

Tests the loyalty of fans that may expect his work to be extreme, but not to such an extent.

Working from a screenplay by Justin Haythe (“Revolutionary Road”), director Francis Lawrence — who worked with Lawrence on three of the “Hunger Games” films — fails to establish much of a momentum.

A flawed but intriguing new chapter in animation.

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

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.

Although the film begins promisingly, it proves to be little more than a soap opera.

This is a movie that Holden would have skipped.

A stylish but empty spy flick, redeemed only by well-executed action sequences.

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

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.

Only a heartfelt performance by Diane Lane rescues the film from abject mediocrity.

It’s just sad to see the always interesting Farmiga wasted in such a hackneyed role.

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.

An oddly uninvolving adventure story.

Aspires to greatness but fumbles badly.