Chris Nashawaty

John Wick, is not only a return to badass form for the actor, it's also one of the most excitingly visceral action flicks I've seen in ages.

Is Kumiko simply naive, or is she mentally ill? The film’s perfect ending doesn’t try to solve that riddle, but it will make you feel as if you’ve just seen something hypnotically original.

Pretty light on scares and only hangs together with the thinnest (and hokiest) of narrative threads.

The fact is, Dock Ellis was...complicated. Probably a lot more so than No No makes him out to be.

Even though there’s not a lot to Jim Strouse’s new relationship comedy, it has a real warmth and charm thanks to the undeniable appeal of comedian Jemaine Clement.

Speaking in her native Aussie twang, Byrne shows that she's a deadpan comic ace. And thanks to her chemistry with Rogen, Neighbors proves that just because you grow up doesn't mean you have to be a grown-up.

Noah is a movie about big ideas (environmentalism, heavenly obedience versus earthly love) and even bigger directorial ambitions (how to tell a personal story on the grandest of grand scales). But, in the end, it's also a disappointment. Maybe not one of Biblical proportions, but a disappointment nonetheless.

If this soap opera wasn’t real, you’d never believe it.

Somehow, almost miraculously, Shannon makes her character become stronger as she gets weaker. It’s a wonderful performance.

Corbet doesn’t seem as interested in the answers to the provocatively glib questions he raises as he is in creating a cynical riddle cloaked in style. No doubt some will find all of this to be a deep meditation on the pop-industrial complex, but from where I was sitting, it just felt like empty camp.

The result is a slight, handcrafted indie that’s sweet, skewed, and feels a bit like a skit stretched out to feature length.

The good news is that the film’s four lead actors all slip seamlessly back into their onscreen alter egos as if they’ve been keeping tabs on them all these years.

Like Welles' butchered cut of "The Magnificent Ambersons," it's fascinating but leaves you hungry for more.

It's a fascinating film that points the finger at a charismatic master of deception — as well as our willingness to buy his deceit.

Wonder Woman is smart, slick, and satisfying in all of the ways superhero films ought to be. How deliciously ironic that in a genre where the boys seem to have all the fun, a female hero and a female director are the ones to show the fellas how it’s done.

More than anything, the film feels a bit like a trial balloon for the relative star power of Jacobs, who’s been promoted from best friend to headliner here.

Not that there’s a ton of competition, but Long Shot may be the most deliriously raunchy comedy with a pivotal semen gag since "There’s Something About Mary."

No one forks over 10 bucks to see one of these flicks for its logic. We go for the bananas demolition-derby mayhem. Furious 7 delivers that with the direct visceral rush of an EpiPen.

He’s not just a name-dropper, but a master storyteller. Whether you believe every spicy morsel that drops from his lips is entirely up to you.

It’s festooned with so many triumph-of-the-underdog clichés (including a climax you can see driving down the Garden State Parkway from a mile away), it’s like déja-vu with a breakbeat. The most remarkable thing about the film is how little you’ll actually mind by the end.

It’s smarter than most films, but not as smart as the first one. It’s funnier than most films, but not as funny as the first one. And it still probably belongs in the upper tier of Marvel movies but nowhere near as high up as the first one.

Zoolander No. 2 is embarrassing, lazy, and aggressively unfunny. The only good news is that at the pace the franchise is moving, we won’t get Zoolander 3 until 2030.

It’s a film for people who thought they never needed to sit through another zombie flick.

The fizzy cocktail combination of Blanchett’s cartoonish hauteur and Branagh’s visual razzle-dazzle and confectionary sets (courtesy of the legendary Dante Ferretti) manages to take a tale as wheezy as Cinderella and make it feel almost magical again.

The film's lack of such signature Hendrix tunes as ''Purple Haze'' may put off some — the filmmakers couldn't get the rights — but I'd argue that this obstacle forced Ridley to zig where most biopics zag. Which, when you think about it, is fitting for the story of a lefty who played his guitar upside down.

How many times can you watch two middle-aged men impersonate Michael Caine? Your answer to that question will determine whether you should tag along with Steve Coogan and Rob Brydon on their third and latest fictionalized (and largely improvised) eating tour of Europe.

The moments that work the best are the ones where Tammi lets the pace and pulse slow down, lets the ominous wind whistle and groan, and it isn’t trying to turn The Wind into Meek’s Cutoff as interpreted by the director of Insidious.

Cop Car feels like a great short stretched into a mediocre feature.