Chris Nashawaty

A sequel that easily tops its 2011 predecessor.

In the end, cancer may have cruelly taken Roger Ebert's voice, but it couldn't silence his greatest gift: his ability to speak to his audience directly, honestly, and with empathy. Thumbs up.

Ultimately, Age of Extinction is an endless barrage of nonsense and noise.

Snowpiercer sucks you into its strange, brave new world so completely, it leaves you with the all-too-rare sensation that you've just witnessed something you've never seen before...and need to see again.

The three main narratives cut back and forth between New York, Paris, and Rome, which is the best thing the movie has going for it: picturesque locations. Unfortunately, by the time we're done taking in the sights and Haggis finally coughs up his third-act puzzle-box twist, it comes off as a big metaphysical So What.

The biggest problem is that the film, written by Marshall Brickman and Rick Elice, never makes a convincing case for why Valli the man or the singer matters beyond the music in the way that "Ray" and "Walk the Line" did for Ray Charles and Johnny Cash.

A major disappointment. Bleak, brutal, and ultimately pointless.

To cover up the script's lack of originality, screenwriters Michael Bacall, Oren Uziel, and Rodney Rothman pummel us with a string of self-aware meta-commentary jokes that poke fun at bloated sequels.

West is a talented director and knows how to build suspense. But here’s a case where the truth wasn’t only stranger than his fiction, it was scarier, too.

The film coasts on its time-capsule fetishism and affable supporting turns from Susan Sarandon and Lea Thompson, but it never achieves the emotional punch of like-minded comedies such as "Adventureland" and "The Way, Way Back."

I couldn't help wondering what kind of spiky unpredictability a "Say Anything" - era John Cusack would have brought to the character — with or without the requisite Peter Gabriel song.

Despite its terribly unimaginative title, Edge of Tomorrow is a surprisingly imaginative summer action movie.

I don't know if A Million Ways to Die in the West will turn any of the MacFarlane haters into fans. But for those of us who have remained on the fence until now, his raunchy, rat-a-tat parody is proof that beneath all of the bratty immaturity lays the head and heart of an outrageous quick-draw satirist.

As a coming-of-age story, the film is a bit uneventful. But the girls’ rebellious, fist-in-the-air spirit and the warmth of their friendship are undeniable.

While the first hour is evocative and suspenseful, the second doesn’t quite muster the depths of paranoia and doom you’re led to expect.

Johnson ties some of the film's looser ends together and makes you overlook the ones that stay untied. Between "Eastbound & Down," "Django Unchained", and now Cold in July, Johnson has a nice little streak going of turning seemingly disposable characters into indelible scene-stealing rascals.

Not surprisingly, the best thing about Days of Future Past is that it's heavier on the days past than future.

It's the latest male weepie cast from the same Disney mold as "The Rookie and "Miracle," and it's essentially "Jerry Maguire Goes to Mumbai."

He doesn't seem too interested in his actors — they're more plodding than their reptilian costars and you don't care about a single one of them — but Edwards does know how to fashion some serious monster mayhem.

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.

With her brassy, determined aunt, Ida sets off to find answers and discovers life beyond the convent walls in this leisurely but satisfying journey.