Calvin Wilson

One of the silliest and least substantial of recent comic-book movies — a jokey, unapologetically nonsensical romp that makes “The Avengers” look like “The Godfather.”

An inspiring but formulaic film about triumph over adversity.

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.

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

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.

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

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

Although the story of Sin-Dee and Alexandra might have benefited from a bit more structure, it’s a window into a world of which many people are unaware — but a world that has its share of dreamers.

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

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.

Bernal (“Y Tu Mama Tambien”), an actor of Mexican heritage, brings to the role a charismatic resolve. It’s an impressive and impassioned performance.

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.

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.

Chi-Raq is a mess — tonally inconsistent, overbearing in its earnestness and badly in need of editing. But it’s also director Spike Lee’s most passionate film since “25th Hour” (2002).

Alma is at once a charmer and a contrarian, and Bergsholm achieves that balance with seeming effortlessness. At times, she's more than a bit reminiscent of the young Jodie Foster.

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

Hidden Figures is an admirable attempt to dramatize an overlooked aspect of American history. Working from a screenplay that he co-wrote with Allison Schroeder, director Theodore Melfi (“St. Vincent”) delivers a crowd-pleasing film that often resembles a sitcom but frankly addresses the social inequities of the period.

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

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

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.

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.

It’s an interesting showcase for Carell, who turns in an uncharacteristically low-key but heartfelt performance. Cranston is more than a bit over the top, but Fishburne balances him out.

Spectre isn’t bad — just slightly disappointing.

It’s not necessary to be a jazz fan to get lost in this poetic and poignant film.

As potential blockbusters go, Batman v Superman is neither as stupid nor as stupendous as it might have been.

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.

A bit slow to get started, and it's nowhere near as funny as "The Hangover." But it'll make you smile.

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