Mike Scott

It's an engrossing film, rich with action and emotion.

Amusing as it often is, it's all also fairly predictable stuff. If there's one thing Arteta's script is missing, it's imagination.

There's something haunting going on in The Notebook -- in the story, in the performances, in the overall atmosphere -- that makes it hard to look away from, and equally hard to forget.

The result is a film that is engrossing for stretches, that will raise your hackles -- and maybe the hair on the back of your neck -- especially if you believe in the vital role journalism plays in a free society. At the same time, though, it also feels a bit like a by-the-numbers affair.

Love is Strange doesn't really have any sort of sense of urgency about it. To the contrary, it feels rather mundane, as their problems -- while both unfortunate and unfair -- feel relatively small when put in perspective.

It's in the film's Africa-set scenes -- at the film's start and again in its closing 25 minutes or so -- when The Good Lie is at its best. This is where the story is at its most moving and rewarding.

Starred Up isn't just violence for violence's sake. Rather, it is a surprisingly layered, hard-hitting human drama, one that cuts to the bone -- albeit with a homemade prison knife.

Still, there's more here to like than to dislike in what ends up being a feel-good movie about a feel-bad topic, a la "Little Miss Sunshine."

Boxtrolls stands reasonably well on its own, as a cool steampunk fairy-tale that serves as yet another testament to the artistry of the folks at Laika.

There's a soothing catharsis in the idea that good guys are every bit as capable as bad guys of raining hellfire down on their enemies.

As a collective thing, though, those moments add up to a messy, all-over-the-map movie that toys with big, existential thoughts, but it doesn't have a coherent enough story with which to drive them home.

It's also both intense and entertaining enough to leave audiences hungry for the inevitable sequel so clearly set up by its cliffhanger ending.

Without Hardy, The Drop would be in danger of becoming just another crime drama. With him, though, it's something else entirely -- something alive, tightly wound and irresistible.

On the one hand, there's a thrill in such experimentalism. On the other, it doesn't always deliver a fully satisfying moviegoing experience.

Yes, that makes Frank weird, but it's the kind of weird I can't get enough of.

This is an alternate-history rock 'n' roll saga. It is not Elvis, but Elvis-ish.

Agata Kulesza is pitch-perfect as the tortured aunt, weighed down by years of shame and sorrow. In a quieter but equally impactful role is newcomer Agata Trzebuchowska as Ida, a character defined by a quiet, rigid stoicism but who, with her cherubic face, engenders great empathy.

The result is a hoot, as Nelson breathes comic life into the proceedings with an effortless, unselfconscious joie de vivre.

While it's not really about football, it's not about sterling filmmaking, either.

Calvary is most assuredly not a comedy. It is a weighty, powerful drama -- albeit one with comic moments -- that dabbles in weighty, powerful themes.

Boudousque is young yet, and so he has room to grow as an actor, but he's got nothing but upside to him at this point. It'll be fun to watch his career grow from here.

The result is a film with a scattered feel. That's particularly true in the film's rushed third act, as it skips around all herky-jerky, cramming in resolutions to the various conflicts but never quite giving any of them adequate time to gel.

The greatest movies, the ones that stick with us, are those that hold up a mirror to the human condition and reflect something back at us that we too often manage to overlook. Boyhood is one of those movies, and with it Linklater proves he is among the best practitioners of that art.

The problem is, the second half of the film -- when it's time for it to get down to business -- isn't nearly as compelling as the first. As a result, the impact of Cahill's story is muted as the payoff just doesn't feel rewarding.

Few of the film's secondary characters feel fully developed, with the possible exception of Nelsan Ellis' portrayal of Brown sidekick Bobby Byrd.

It is fast, it is fun.

Chaz Ebert says that Roger would have loved Life Itself. I'll take her word for it. She knew him far better than I did. Clearly. But I'll add this: I love it, too.

Amid it all, Snead does a nice job of laying out the history of video games. If nothing else, there's a lot of information here. But there's also a lot of information on the Wikipedia entry for "video games." All in all, I'd rather be playing "Madden 15."

The resulting coming-of-age story isn't necessarily an uplifting one. It is harsh. It is melancholy. It is sometimes uncomfortable to watch and predictable here and there. But it also boasts a feeling of authenticity.

Steadman is a fascinating talent with a fascinating process and a fascinating perspective on the world. Maybe somebody will make a definitive documentary about him one day. Unfortunately, For No Good Reason isn't it.

The sum total is a film with great music, a great story and a great vibe in general -- not to mention those Carney-crafted moments, built around joy, possibility and self-transformation. In other words: Carney has given us another pearl.

It's also deeply flawed, an emotionally exhausting film with a payoff that is limited at best, and a bit self-indulgent to boot. So while Haggis has proven himself a first-rate filmmaker and storyteller, by his standards, Third Person is little more than a second-rate effort.

Makes for riveting viewing. Dawn of the Planet of the Apes is among the more brisk 2 hours and 10 minutes I've spent in a theater in some time -- and it's easily the most rewarding of this year's summer tentpole films.

Despite its adoption of that trendy (and more than a little tired) shooting style, there's an old-fashioned charm to Earth to Echo.

Regardless of how well-argued it is, when watching a film feels this much like homework, that's not likely to happen.

Sometimes the nuts-and-bolts of the story threaten to snag, most often on conversations about the very specific details of Locke's largely humdrum job. It's those moments in particular that keep Locke from ever quite shaking the feeling that it's a gimmick film.

Not all of the stand-up scenes in Obvious Child are quite as funny. At least one is meant to be bad. Another is meant to be poignant but just ends up coming off as a touch weird and emotionally false.

The result is a film that feels breezy at times, but also grounded in a sense of emotional honesty.

Michell's is a film with somewhere to go -- and that journey is one well worth taking.

Witching and Bitching -- though perhaps a bit overlong, and prone to meandering -- is unapologetic about what it is: a crazy, just-for-fun film that revels in its own bad taste.

Unfortunately, Think Like a Man Too never takes the time to elevate any of those characters to beyond mere cardboard cutouts.

Here's the crazy thing, though. Against all odds, it works.

Even when it is at its most esoteric, The Dance of Reality is always brimming with passion and a daring originality. That helps smooth over the flaws, such as its general staginess and his self-indulgent tendencies.

This is a film your preschooler will sit through, and attentively. Better yet, parents who appreciate the artistry of a well-made animated film also stand to be swept up in what is a delightful little tale.

I wouldn't expect many people to remember Cold in July come September, when the movie-award season gets underway. But as a guilty-pleasure May release? You could do far worse.

Enchanting enough to cast a spell over fans, of Jolie, of Disney, of "Sleeping Beauty" -- and of pure, cinematic escapism.

This is a movie that -- in addition to being exceedingly well-cast and surprisingly well-shot -- is gleefully inappropriate and indulgently crass at every turn.

Still, it's all enjoyable enough, playing out like a cross between "Pride and Prejudice" and "Amistad" -- and a welcome change of pace for those trying to avoid the radioactive spiders and time-traveling mutants that have otherwise invaded the summer movie season.

Here's a film that feeds the heart and the soul.

The result is intense and powerful, a full-color portrait of the importance of never surrendering.

Most of all, though, there's the story itself, which was already pretty quirky -- and amazing -- even before Oscar-nominated screenwriter Thomas McCarthy ("Up") put pen to paper for director Craig Gillespe's film.

Songs such as "We Shall Overcome," "Wade in the Water" and "This Little Light of Mine" are powerful to begin with. Listening to them, music-video-style, over footage shot during the era, however, elevates them.

Wiig is so enjoyable to watch that it rescues Johnson's film. She's the best reason to see it.

A low-energy drama, but the kind that has a way of holding your attention -- and keeping you smiling -- for the entire time you're watching it, lifting your mood in the process.

Can it be considered a comic masterpiece on the same level as "Animal House," that mother of frat-house comedies? Not by a long shot.

Here is a film that not only entertains, but also educates and -- thanks to Jodo's deep confidence and energetic artistic optimism -- one that also inspires.

Even when it's at its best, Walk of Shame is rarely more than merely amusing. On the other hand, when it's at its worst, it's nothing short of insulting, thanks to its willingness to engage in the kind of gross stereotyping that treads uncomfortably close to racist territory.

One heck of a fun film -- and the most enjoyable and rewarding superhero movie I've seen in a while.

Nicole Kidman as wife Patti (shows nice, subtle touches in her limited time on-screen).

Khan in particularly is wonderful in Batra's film, which takes the time to indulge in quiet moments that Khan expertly fills with his expressive face and sense ease in front of a camera.

Under the Skin is, in short, a film that does just that: gets under one's skin, shining a light on what it means to be human -- even if what we end up seeing is something less than comforting.

A giddy blend of style and attitude that plays like a lightweight cross between a Guy Ritchie and Wes Anderson film.

There are lulls to be had here, but there is a smattering of laughs, too -- and some pretty good ones, at that. If, that is, you'll give yourself permission to laugh at Wayans and company's lowest-common-denominator antics.

Oculus is a time bomb of a psychological horror film.

This newer installment is every bit its predecessor's match as far as action goes. Where it exceeds it, however, is in the between-the-fights moments.

The problem is, Draft Day doesn't really capture that sense of urgency until late in the film.

Vol. 1 functions reasonably well as a standalone film in its own right, playing out like a dose of mass therapy, an interesting, Von Trier-led sexploration of humankind's conflicted approach to sex: We love it, but we also fear it and are often thoroughly ashamed of it.

It all adds up to weave an engaging story, and not just for its wealth of titillations. Many of the sex scenes, in fact, feel more clinical than anything else.

So here's what moviegoers can trust from the Russo's Captain America: Winter Solider: They can trust it to be a brisk ride. They can trust it to be entertaining. They can expect it to be suspenseful.

An uneven but consistently compelling film that, with its roots in the horrors of World War II, generated no small amount of controversy in its native Poland when it was released there in 2012.

The problems here are more with the story, which, even at just 89 minutes, feels a touch repetitive at times.

That's not to say Muppets Most Wanted is all stuffing and nonsense. The franchise hasn't declined that much just yet. There are entertaining moments to be had here, for sure.

There are moments of depth there as well, as Anderson touches on themes of friendship and loyalty. More than anything else, though, The Grand Budapest Hotel is just a fun ride -- a wild, wonderful ride seemingly plucked out of Anderson's dream journal.

An entertaining and interesting film, and one that speaks with a reasonable degree of credibility. And while that might not make it high art, it's good enough for me.

If not for the "Fast and Furious" franchise, Need for Speed probably wouldn't exist outside of the video game series that inspired it.

Does The Wind Rises represent Miyazaki at the top of his game? No, not really. But it could be Miyazaki at the end of the game, and that alone is reason enough to appreciate the film for the things it offers rather than hammer it too hard for the things it lacks.

It keeps you guessing, it keeps the tension ratcheted up, and it offers a dose of breathless -- if sometimes brainless -- suspense.

The end result is still not a very good film, but it is one that boasts some enjoyable moments -- but only if you find yourself with two hours to kill.

What he ends up with is a film that boasts undeniably intriguing parts, but that -- unless you've just eaten some magic mushrooms of your own -- just doesn't gel as a whole, unified moviegoing experience.

These characters are so compelling that their stories are easy to get caught up in. As with "A Separation," Farhadi's drama never strikes a resoundingly false note -- which is a precious thing in movies lately -- and as such is a film that promises moving rewards.

Not only is it a searing on-the-ground, in-the-fray portrait of the heart of Egypt's ongoing revolution, but it is also a stirring tribute to the indomitable spirit of those who are risking, and in many cases giving, their lives to keep it alive.

This is supposed to be a movie about obsession. Instead it's just cupcake meets beefcake, with a big glass of milk on the side. And that's one Valentine's Day dinner you can easily pass up.

It's all fairly standard rom-com stuff.

Any improvements over the original RoboCop are mere window dressing, more a superficial function of technical advances in filmmaking than of any sort of storytelling prowess or fresh narrative ideas.

All aspects of this great story are drawn toward the middle ground of mediocrity.

12 O'Clock Boys is reminiscent of the Ross brothers' far more lyrically shot 2012 film "Tchoupitoulas," which tagged along with three New Orleans boys for a night of exploration and boundary-testing in the French Quarter. The setting is different in Nathan's film, and Nathan doesn't commit as fully as the Rosses did to visual artistry. But there are thematic similarities, to be sure.

There must also be a spark, a sense of life, a compelling reason for being. If a film doesn't have those -- which The Invisible Woman doesn't -- well, it might as well be invisible.

That's the kind of movie this is, the kind that sticks with you, that prods you to examine things. In the process, it reveals itself to be something of an emotional roller coaster -- but one well worth riding.

Once the opening credits end, it turns out The Nut Job"= is far more "Romper Room" than "Step Brothers."

Here's a film that tries to strike a "Beverly Hills Cop" balance between crime drama and screwball comedy -- but that balance, it should be noted, isn't an easy one to strike.

Even though it's a strictly no-frills, straight-forwardly shot affair, it feels overdue.

Even a flawed Spike Jonze film is a thing of beauty in its own way, and even the uneven but admirable Her is a journey well worth taking.

Not, in other words, a happy story. It is not a story of redemption or healing or finding happiness amid the despair. It is about reaping what one sows. But, damn, those performances. Damn, that dialog. Damn, that's good stuff.

While Lone Survivor is presented as a piece of hero-focused entertainment, it is a suitably sobering one in the end, and a film that is bound to stick to the ribs of audiences longer than, say, your average Superman movie.

Like everyone else in Russell's cast, Lawrence appears to be having a blast in the role. It's downright contagious.

One only wishes they were able to deliver these performances in a movie that felt more like a true celebration of Mandela's life -- and less like homework.

With all of its excess, Wolf of Wall Street might not rank up there with Scorsese's best, it sure has fun trying.

Inside Llewyn Davis isn't as goofy as 2008's "Burn After Reading," nor as solemn as 2009's "A Serious Man," but it's an embraceable film just the same.