Calvin Wilson

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.