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.