Calvin Wilson

Fury is a guided tour through a manmade hell.

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

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

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 Hedgehog sneaks up on you with its heartfelt storytelling and sophisticated wit.

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.

In his best performance since “The Social Network,” Eisenberg is perfectly cast as the neurotic Bobby. But the film truly belongs to Stewart, who brings to Vonnie a haunting luminousness.

It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.

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.

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

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.

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

Gilchrist ("United States of Tara") is immensely appealing as a kid who's just a bit too wrapped up in himself to grasp that perhaps his problems aren't insurmountable.

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

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.

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.

Laggies is the kind of indie film that gives the genre a bad name.

The film is a criminal waste of an ensemble cast that should have found something better to do than lend their names to such a pointless exercise. Free Fire is a misfire.

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

Bursting with smart dialogue, surprising situations and humor that springs from richly imagined characters.

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

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

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

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

Jeunet -- whose influence can be seen in everything from the short-lived TV series "Pushing Daisies" to the Oscar-winning film "The Curious Case of Benjamin Button" -- remains one of the world's most imaginative directors. But Micmacs is a misfire.

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

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.

Perhaps the only reason to see it is Elliott, who’s terrific as a man who’s desperate to make amends for his shortcomings. It’s one of his finest and most memorable performances. Unfortunately, the script fails to rise to the level of Elliott’s artistry.

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

The charismatic cast can’t be faulted. Bullock and Blanchett are more than credible as crooks, and Hathaway is delightful as the self-absorbed Daphne. Unfortunately, Ocean’s 8 turns out to be a poor showcase for their talents.

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

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]

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.

Spectre isn’t bad — just slightly disappointing.

This reboot starring some of today’s finest comic actors — male or female — is a wonderfully hilarious and boldly imaginative creation in its own right.

Our Idiot Brother is smart entertainment.

Although it has a great look and offers a few thrills, the animated film 9 is one of this year's biggest disappointments.

An old-fashioned film that slyly nods to contemporary sensibilities, Allied is an engaging showcase for Pitt and Cotillard.

An exhilarating balancing act, at once a science-fiction romp, a paranoid thriller and a philosophical treatise.

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

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

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.

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

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

Working from a screenplay that he co-wrote with Christopher Rouse, director Paul Greengrass has come up with a post-Snowden film that delivers nonstop thrills.

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.

Gordon-Levitt turns in an Oscar-worthy performance as a man who’s all too aware of what he’s letting himself in for. And Woodley skillfully balances a range of emotions as Lindsay.

As a melodrama, Brothers is passable entertainment. But the film squanders the opportunity to meaningfully portray the impact of war on American lives.

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

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

One has to wonder why the film was even made if it had to be so disastrously compromised. Chekhov would be appalled.

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

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.

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

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

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

Burton delivers his most ambitious and engaging film since “Sweeney Todd” (2007). Although the story becomes increasingly complex as it goes along, the emotional payoff is more than worth it.

It doesn’t help that the characters caught up in this fact-based melodrama aren’t particularly engaging. Or that Téchiné doesn’t seem to have much of a feel for the material.

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.

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

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.

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

As shaky as the situation it depicts.

A well-crafted drama about the comforts and insecurities of family life.

Genius, like most films about the literary life, has trouble dramatizing what’s involved and making us care.

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

Diesel and Johnson are at their testosterone-charged best. Theron, who seems to be auditioning to become the next Bond villain, is ruthlessness personified.

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.

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.

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

Superior filmmaking. Yes, it runs almost three hours - but you've probably seen 90-minute films that felt a lot longer.

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.

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.

Stölzl blends romance and melancholy in fine style.

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.

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

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

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

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.

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.

Only when there’s an opportunity to blow things up does Fuqua seem fully engaged. Another Western bites the dust.

It’s hard to understand what went wrong — the cast couldn’t be more appealing, and the film is bursting with special effects. But as an emotionally satisfying experience, it’s a bust.

A disgrace and a waste of the talents of Oscar winners Keaton, Fonda and Steenburgen and Emmy recipient Bergen. Obviously, the film is intended for an older audience. But is this anemic, feature-length sitcom really the best that Hollywood can do?

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

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.

As usual, Ridley is immensely appealing as a born warrior with an indestructible sense of right and wrong. Her expressive face lends the fantastical goings-on an emotional resonance.

Strives to be entertaining, but for much of its run time it is so emotionally uninvolving that even the smallest children might find themselves bored.

Aspires to greatness but fumbles badly.

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 halftime walk is more like a long slog.

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.

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.

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.

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 documentary that clearly aspires to the highest standards of cinematic muckraking but makes for a frustrating experience.

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

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

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