Calvin Wilson

Isn’t a knockout of a film, but it’s light on its feet and throws a lot of good punches.

The year’s most exhilarating film.

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.

It’s not necessary to be a classical-music buff to be charmed by this thoroughly entertaining film that never hits a false note.

Suicide Squad had the potential to be as hilariously irreverent as “Deadpool,” a surprise box-office hit about a similarly sociopathic hero. Instead, it’s just another film that relies on special effects to distract the audience from a story that’s overblown and underwhelming.

As a documentary, “Eat That Question” is kind of raggedy. But a more polished film might not have been in keeping with Zappa’s anarchic spirit.

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.

Working from a screenplay that he co-wrote with Christopher Rouse, director Paul Greengrass has come up with a post-Snowden film that delivers nonstop thrills.

Written and directed by Matt Ross — who is perhaps best known for his role as Alby on the HBO series “Big Love” — the film raises questions not only about what it means to be a responsible parent but also about what constitutes a meaningful life.

Pine brings a measured but engaging heroism to Kirk. Quinto is perfect as the logical but charismatic Spock. Urban lends the proceedings a much appreciated dose of humor. And even with his famously expressive face obscured by makeup, Elba elevates Krall to something more than a cardboard villain.

This reboot starring some of today’s finest comic actors — male or female — is a wonderfully hilarious and boldly imaginative creation in its own right.

Director Brad Furman (“The Lincoln Lawyer”) does a serviceable job of keeping the narrative elements in play but has trouble making us care.

Looking for a feel-good movie? Fortunately, this film doesn’t qualify.

If The BFG is unlikely to become a cultural phenomenon of the magnitude of “E.T.,” it’s a film that casts a unique and often mesmerizing spell. But it’s also a bit too talky, particularly in the early going, and Spielberg lets numerous opportunities for humor slip by.

If you’ve been looking for a film that puts a daringly surreal spin on “Cast Away,” you’ll be in paradise.

Cenedella may never become a household name, but Art Bastard argues persuasively that fame is overrated.

Aspires to greatness but fumbles badly.

Genius, like most films about the literary life, has trouble dramatizing what’s involved and making us care.

One of Pixar’s most charming achievements.

Working from a screenplay by Ed Solomon, director Jon M. Chu is more craftsman than poet, but the charismatic ensemble cast engages in the trickery with style.

A sophisticated comedy about New Yorkers who might easily be mistaken for characters in a Woody Allen movie.

If you’re open to embracing a film that declines to pander to expectations, you should definitely make a date with The Lobster.

It’s an old-fashioned tale of an individual overcoming the odds — only in this case, that individual happens to be a horse.

A scene involving wolves upset by Seal’s singing is worth the price of admission all by itself.

The film’s true scene-stealer is Bennett, who brilliantly portrays Sir James as a case study in cluelessness.

McAvoy and Fassbender appealingly reprise their frenemy chemistry. But Lawrence has little to do but look perplexed.

A Bigger Splash? More like a small trickle.

Is this a family film? No way. Does it include scenes that some may find painful to watch? You bet. Will you be entertained? Thoroughly.