Drew McWeeny

By the time Coogler wraps things up, his film manages the difficult trick of looking back with earned nostalgia and standing alone as a genuinely strong dramatic piece.

It may be overstuffed the point of bursting, but there's much to like here.

It sounds far sexier, just based on the synopsis, than it actually plays, though, so hopefully people aren't sold the wrong movie. For those in the mood for a throwback to the doomed romanticism of mid'60s art films, this feels like about as sincere an homage as anyone could produce.

Despite the very real threat and the personal stakes and the grim weight given to things, director Sam Mendes manages to pay sophisticated, sincere homage to the conventions that define the Bond series while remembering that one of the things that makes the series such an enduring presence is fun.

They have tried, with this Daniel Craig run of films, to elevate the Bond movies so they are more than just acceptably silly spy movies, and one of the reasons SPECTRE is so frustrating is because it feels like the collapse of that ambition, and it is in one moment that you can see the entire thing burn to the ground.

Frequently very funny, undeniably aimed at younger audiences, and true to the source material, The Peanuts Movie is too mild-mannered to win over brand new audiences, but it's going to please people who were already fond of the underlying property, and it should be a big nostalgia-driven hit for the studio.

To the bitter end, the series manages to wring some fun, solid scares out of something other invading something utterly familiar.

Walking out of the film, I might have given it a C+ or a C based purely on the fumes of Murray's better work that are present here, but the more I've thought about it, the more infuriating it is to see something this lazy and familiar from Murray at this point.

I was pleased to see that "Spies" is not a thriller so much as an ode to both American diplomacy and the tradition of moral movie fathers along the lines of Atticus Finch.

This is a film of tactile decadence, such a rich sensory experience that it's almost suffocating.

With no clear purpose in telling the story and no real focus in the actual storytelling, Pan never gets off the ground.

There's not an ounce of fat on the film. It feels like it moves forward in every single scene, and while it's a little mechanical about how it follows three-act structure, it's almost charmingly old-fashioned about it.

When you're watching something Zemeckis made, anything can happen, and reality is up for grabs. In this case, he's used his powers for good, and the end result is stirring and spectacular at times, with a devastating, if subtle, final line of dialogue.

It's a very direct film, a lovely portrait of family and strength and just how far one voice can carry.

Wheatley is all about control of tone and how he's using this big obvious metaphor. His film is alive with human behavior, heightened at times and stylized as hell, but alive and identifiable and crackling with a wicked energy.

Stonewall is the anti-"Selma," a movie that not only fails to fully capture the energy and importance of a true event but that fails so completely as a film that it is almost impressive.

Meyers wants this to be all sort of amiable and charming and a big warm bath of a film, and it is.

Anomalisa is an extraordinarily wise film about the reasons we turn to other people and the enormous difficulty of doing so.

If you can get past the witlessness of the world itself, there is some very good work in Equals, and fans of the cast will be no doubt pleased with the connection they have in some of the movie's best moments.

The pacing on this one is flaccid, and while I think he has some interesting points to make, the framing device to the film is a total bust.

It takes a genuine master craftsman to take something as complex and difficult as this and make it look easy, but it also takes an artist with a great ear to take something as dense with exposition as this is and make it practically sing.

Just on a technical level, the film represents such a big jump forward for Saulnier that you should expect the studios to immediately start arguing over which giant soulless franchise should occupy his time in the near-future.

If this was someone's first film, I'd be okay with the small signs of life that make this merely an annoying film instead of a completely dreadful one, but for this to be the latest work by a guy who made his first impression on the general public by sticking to his guns and refusing to compromise his voice… unthinkable.

If you have a fondness for the genre and a particular love of '60s pop, The Man From UNCLE is the summer's big fizzy drink, all bubbles, and while it may be gone the moment you walk out of the theater, the smile it puts on your face will likely linger.

Neither the disaster the fanboy nation seems to be itching to attack nor a significant improvement over the Tim Story movies, Fantastic Four seems doomed to please no one.

I think Mission: Impossible - Ghost Protocol is the most consistently entertaining, most laser-focused entry in the series so far, and while I would argue that it is very much a sequel to the third film and not just a disconnected piece of a flexible franchise, it is also a great rollicking self-contained spy movie adventure on a grand scale, and it's preposterous fun.

Both of its time and of the moment, Straight Outta Compton is potent and largely successful, and makes a hell of a case for why this was a story worth telling.

The biggest problem I have is that the film seems determined to push the outrageousness as far as possible, and there comes a point where it just stops working because it's all so outrageous.