Calvin Wilson

Entertaining in a way that’s practically unheard of these days. It’s about the sheer exhilaration of expressing yourself, no matter what anybody thinks.

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.

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.

An intense, provocative drama about religion and its impact on those who embrace it as essential to their lives.

Lady Bird might finally be the role that earns Ronan (“Brooklyn”) an Oscar. As a young woman at odds with the world, and herself, she illuminates the film. Also worthy of Academy attention is Metcalf, who is sheer perfection as the quintessential stressed-out mom.

This is a generic, uninspired and mind-bogglingly boring comic-book movie that’s out to steal your money and time.

An emotionally involving drama that deftly sidesteps mawkishness.

Based on a book by Brian Selznick, Wonderstruck is a visually striking film that’s uncompromising in its approach — less about narrative momentum than about surrendering to the power of images.

This is the feel-bad film of the year. Recommend it to someone you hate.

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.

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.”

Suburbicon is a flawed attempt at dark comedy, but it’s hardly the disaster that critical buzz would have you believe.

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.

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.

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.

One of the freshest and most entertaining films of the year.

Winslet deftly balances spunkiness and vulnerability, and Elba (still fondly remembered as a surprisingly erudite criminal on HBO’s “The Wire”) exudes brooding masculinity.

Director Denis Villeneuve (“Arrival”) delivers a moody, visually stunning celebration of existential angst. Not that he skimps on the kind of mayhem that’s de rigueur these days, but you have to wait for it — and wait for it. But when it does arrive, it’s awesome.

Liman and Cruise previously worked together on the brilliant but overlooked science-fiction flick “Edge of Tomorrow.” Their latest collaboration, which boasts one of Cruise’s best and most charismatic performances, deserves to be a hit.

The fact-based Stronger is an inspiring tale of reconciliation and reinvention that sidesteps sentimentality to get to emotional truth.

This is the rare mainstream film that addresses the complexities of real life. Brad’s Status may motivate you to question your own.

This is a movie that Holden would have skipped.

Naysayers will no doubt argue that mother! is an incomprehensible mess. But as sheer visceral filmmaking, it’s a must-see. If you’re looking for meaning, read a book.

If you’re looking for a film that’s guaranteed to have you gripping your seat, this is It.

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.

Webb delivers a film that’s somewhat derivative, but succeeds as a welcome alternative to superhero extravaganzas.

Good Time is not so much a crime drama as it is a meditation on the genre’s virtues and limitations.

Tatum is terrific as a sort of anti-Clooney, and Driver complements him perfectly.