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.