Michael O'Sullivan

Aniston delivers an utterly un-Rachel-like performance. It's neurosis-free and unmannered, by turns funny, sad and profound.

It's over-the-top. It's wild. It's filled with outrageous behavior all around.

For more casual consumers of the costumed comic-book superhero’s exploits, mileage may vary. But there’s a whole lot to like here.

As a simultaneously slick and provocative entertainment, “War Game” is chilling and a tad infuriating, offering a white-knuckle ride — “Civil War” for policy wonks — that may feel a bit too fresh in the memory for viewers who are still traumatized by the real thing.

Will keep you awake, jittery and perched on the edge of your seat for pretty much the entire flight.

What becomes clear is that Trumbo's humor is only one thing that helped him survive the professional and personal hardships of the blacklist, which drove more than one of his Hollywood friends to kill themselves and took a toll on Trumbo's children.

Despite broad satire about racism and border fences that will appeal to some liberals, the movie doesn't line up neatly along party lines -- except in that other sense of the word "party." It's a movie that just wants to have fun.

Ultimately, Divide and Conquer offers useful lessons — and maybe even a little hope — for people on both sides of the national divide, about just how we came to this terrible, but not irreversible, place.

There’s some fun to be had, as long as your idea of fun includes being grossed out.

Though marketed as a comedy, this film is too creepy and acerbic to be consistently comic.

The real problem isn’t an overabundance of potential killers. Rather, it’s the fact that the film, from writer-director Aaron Katz (“Land Ho!”), does so little to make you care about the crime, or its victim, that the whole thing feels like an academic exercise.

Cares not a whit for such arbitrary concepts as justice, crime or punishment. It understands the relativism of right and wrong and takes a kind of perverse pleasure in reminding us that there are some things we'll never know.

Engrossing, educational, amusing and disturbing. And who could ask for more than that from a film?

Fortunately, Ahmed (an Oscar nominee for last year’s Sound of Metal and more recently seen in the niche Mogul Mowgli) delivers another one of his reliably watchable performances.

Like A Quiet Place, Part II is a lean, nearly flab- and gristle-free piece of sci-fi steak.

Sweet and wise little film.

Pure David Mamet is an acquired, but delicious, taste.

It’s a more than serviceable pleasure, for fans of Austen’s 19th-century comedy of manners and romantic misunderstanding.

There remains a maddening emptiness where the film's ostensible subject should be.

Shot with a shaky hand-held camera, Wonderland is a sentimental fairy tale with a gritty documentary feel.

This familiar-sounding melodrama works because of the extraordinary performance, in the title role, by Alba August, a young actress whose every emotion is made manifest, like passing clouds or a burst of sunshine, on her uncannily expressive face.

This cinematic Macbeth possesses a terrible beauty, evoking fear, sadness, awe and confusion. Presented with the aesthetic of a dark comic book, it’s also a mournful masterpiece, rendering Shakespeare’s spectacle with all the sorrow and majesty that it deserves.

The empowerment trajectory of Ms. Purple, whose title may refer both to the color of two dresses worn by its protagonist and to the hue of hard-won bruises she sports by the end of the film, will surprise no one.

Ingrid Goes West doesn’t quite go south, but in diving headfirst into the swamp of Internet addiction, its vision gets a little murky.

Despite her biting legal writing, she comes across, on camera, as unfailingly mild-mannered, decorous and polite, especially when the film explores her rather unlikely friendship, based on a shared love of opera, with her late conservative colleague Antonin Scalia.

A gorgeously morbid meditation on the interconnectivity of life.

It is Carandiru's ability to humanize its central characters ... that gives the movie its wrenching, tragic power

Directed by Heather Lenz, the film offers insight and eye candy, despite the fact that it is far more traditional — in style and format — than its subject.