Calvin Wilson

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.

Saint Laurent was a truly mythic figure. It’s a shame that Bonello’s film doesn’t do him justice.

These days, it’s tough to find a comedy that even aspires to sophistication. The Intern entertainingly fills that slot.

Another “Jurassic” flick wasn’t necessary, but it’s a fantastic ride all the same.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

Allen has been criticized for leaving some of the plot lines up in the air and several characters in the lurch. But he seems to be making a point: Neat Hollywood endings are as phony and dangerous as Cristal's ramblings.

Pregnant with possibility; it's the delivery that disappoints.

Valerian has some cool visuals. But there’s more to science fiction than pretty pictures.

Skyscraper clearly aspires to be a 21st-century update of “Die Hard” (1988), one of the best action thrillers ever made. Instead, it’s just another film that squanders the movie-star charisma of Johnson, who should consider lending his box-office clout to more worthy projects.

Fresh and delightfully offbeat, The Accountant proves that a thriller can be complex and nuanced while fulfilling its mission to entertain.

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

A foul-mouthed comedy, which isn't necessarily a bad thing. "Bad Santa" (2003) also had plenty of crude language and lewd behavior. The difference is, "Bad Santa" was extremely funny.

Page is outstanding as a young woman who has finally found happiness, only to see it cruelly slipping away.

Whereas "Chill" attempted to define a generation, "Lies" is more of a statement about the nature and limits of friendship.

Delivers a feel-good film that nonetheless allows for genuine moments of working-class anger.

Perhaps it’s time for a moratorium on road movies. Despite its strenuous efforts to come across as quirky and original, Boundaries goes nowhere.

Egoyan doesn't flinch from exploring the dark side of curiosity. That includes dealing with sexuality in a way that might make some moviegoers uncomfortable.

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

Offbeat and unpredictable, Demolition takes a wrecking ball to audience expectations.

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

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.