Christopher Schobert

The Quiet Man is as mysterious as its subject. It is, of course, an absolute must-watch for the Stones faithful. There is no great insight regarding the other members of the band, though.

It falls flat. There are a variety of reasons — one-note characters, an overly-familiar story arc, a laughable sequence of bee heroism (!). (Alternate title idea: “Secrets and Hives.”) Still, there is the work of Grainger and Paquin.... They make Tell It to the Bees watchable, and are worthy of high praise.

The film itself is not a success, but the performance by Mara is complex and profound. If for no other reason, see it for her.

The Wedding Guest is as technically accomplished as any film Winterbottom has ever made. But it all amounts to very, very little.

Jeremiah is bouncy and pleasing, if overfamiliar and never as insightful as one would hope.

One of the film’s successes is its ability to subvert expectations.

Barry Jenkins has created a film both tender and tough, with a time, a place, and a story to lose oneself in. Sublime in its depiction of an emotional connection and subtle in its layers of systematic oppression, Beale Street is a major work from a filmmaker whose gifts are clearly boundless.

Kidman gives one of her best performances, and Kusama keeps us interested even when we know what’s coming.

This is precision entertainment, a crackling, pulse-pounding heist movie with a sterling cast, a whip-smart script, and undeniable social resonance, calling to mind heavyweight champs like The French Connection and Heat. It never quite matches those cinema milestones, but make no mistake, Widows is a knockout.

We the Animals is most effective when it breaks free from conventional storytelling and relies on image, sound, emotion, and mood.

The reason to see Siberia is, quite simply, the presence of Keanu Reeves.

Terminal is destined to be forgotten. However, if the cast, the look, and the wacky storyline intrigue, it might be worth a viewing. While it’s far from the so-bad-its-good category, the few oddities contained within may delight a few curious audience members.

Basmati Blues is an inoffensive trifle. It does not warrant outrage; it’s not bold enough to risk it. Yet there is some heart, and undoubtedly, some ambition.

The film never loses its spirit of harmony, even during its lengthy railroad chase ending. Throughout, it is a marvel of humor, dazzling visuals, and unique characters.

Roman J. Israel, Esq. might not be the courtroom drama fans have been expecting. Instead, it’s a character study filled with insight and originality.

When Molly’s Game is good, it’s very, very good. There are dazzling moments throughout, and it’s clear that Sorkin is having a blast. Much of the film is downright intoxicating, just like the world Molly Bloom found herself in.

Lady Bird is one of the year’s great joys. Greta Gerwig’s debut as a solo writer-director is so wise, so funny, and so remarkably assured that it seems to have flown in out of nowhere.

There’s no doubt that Gangs of Wasseypur is an exhilarating creation, a not-to-be-missed cinematic event, and a work as sprawling, messy, and open-ended as real life.

Throughout, Jordan’s direction is stylish and smart, while its cast succeeds in making its characters truly involving.

You want to see, hear, and feel slavery? Here is the system, in all its awful components.

Prisoners might be the most shockingly dark studio release since Fight Club, a grim, unsettling, occasionally convoluted, but undeniably gripping thriller.

Philomena has a few modest missteps, and a frustrating moment or two (Philomena is more forgiving than Martin – and the audience – want her to be), but the film is so moving, so brisk, and so sweet that it is hard to be left with anything resembling disappointment.

As fascinating and enjoyable as the end result is, Made of Stone spends too much time trying to justify its existence, and not enough time actually presenting us the band as it exists today.

Noah Baumbach’s While We’re Young is wise, funny, fiercely intelligent and always involving. It’s not just the director’s most complete film — it’s also his best.

Supersonic is about the rise of the band, the period from birth to its two concerts (to 250,000 attendees) at Knebworth. And that’s fine, since Supersonic is a wildly entertaining blast of energy and bombast.

It’s a so-so affair offering momentary pleasures.

For Rooney Mara, it’s a new high, giving a performance that can only be described as extraordinary, and she makes Una a sharp, discomforting stunner.

It is Nicholas Hoult, and Nicholas Hoult only, who keeps one watching. Even here he commands the screen, and shows himself able to carry a film. Next time, perhaps it will be a good one, and not one with such a needlessly tired message.