Richard Roeper

A visually arresting, consistently entertaining story featuring a host of endearing and memorable characters. Everyone in the ensemble is excellent, but the standout is Awkwafina, who does some of the best animated voice work I’ve ever heard.

Director Chris McKay keeps things zipping along, alternating between smart and often hilarious rapid-fire exchanges of dialogue, and big, big, BIG action sequences that fill every inch of the screen with brightly colored, fantastically kinetic action.

It’s a quirky and unique coming-of-age story.

Fuqua and screenwriter Richard Wenk veer close to “Godfather” territory with an extended sequence that cuts between a somber religious ceremony and extreme carnage, but this is not Important Cinema — it’s well-filmed, well-acted, high-class B-movie pulp, and we get a neat little twist to wrap it all up at the end.

Trainwreck is my favorite romantic comedy of the year, and despite (or maybe because of) all its sharp edges and cynical set pieces, it’s a movie you want to wrap your arms around, or at least give a high five.

One of the most thought-provoking movies in recent years — the kind of film you’ll find impossible to forget, the kind of film you’ll want to discuss and debate with friends and colleagues.

I was stirred by the lush and pristine sounds of the band, including of course Eddie Vedder’s oft-imitated but never really duplicated guttural growl of a voice, and I was greatly impressed by the gorgeous visuals in the concert sequences. This is one of the most vibrant-looking rock performance films of recent years.

The greatly gifted and consistently eccentric writer-director Bong Joon Ho’s Okja is an uneven but never complacent mix of fantastic fairy tale; social satire; heavy-handed commentary on corporate greed and our consumer-crazed culture, and bizarro action film.

Titane is a triumph of hallucinogenic, gender-switching, erotic and violent horror from writer-director Julia Ducournau.

At times the deception and the intrigue and the twists and turns make it nearly impossible follow every detail of the plot, but even when things get muddled, we know Ethan’s our hero.

Disney’s Frozen works beautifully as a timeless fairy tale with a modern twist.

While Mirren and McKellen are as wonderful as you’d expect, especially in the early going when their respective characters are just getting to know one another, even these two legendary talents can’t overcome a convoluted, unfocused and increasingly implausible storyline.

This is a smart movie about complicated people in search of something approaching inner peace.

This is a film that has much to say about the systematic oppression of marginalized and exploited classes, and the powers that be who will go to extreme measures to make sure the more things change, the more things stay the same. Also, it’s funny as hell.

While there’s no new ground to be covered—Elizabeth’s captors were long ago brought to justice—it’s still a journalistically thorough and fascinating look back at the story, highlighted by present-day interviews with Elizabeth, her little sister Mary Katherine (who witnessed the abduction) and Elizabeth’s father, Ed Smart.

Me and Earl and the Dying Girl has those handkerchief moments, but the laughs far outnumber the hard and sad punches. This is a movie that’s grounded in reality, has just enough whimsy and soars to the stars. It’s one of the best films of 2015.

Douglas Tirola’s Drunk Stoned Brilliant Dead is a frenetic, rough-edged, unapologetic tribute to the Lampoon, featuring some amazing archival footage, nifty bits of animation and dozens of straightforward talking-head interviews that crackle and pop.

Directed with creative style by Anders Walter (with a screenplay by Joe Kelly, adapting his own comic book), I Kill Giants is a good-looking adventure fable that makes great use of the Northeastern coastal locations.

Southside with You is a sweet, intelligent, well-crafted, wonderfully romantic, no-frills re-imagination of the first date between Barack Obama and Michelle Robinson.

Not every joke lands, but with a brisk running time of 1 hour and 32 minutes, director/co-writer Seligman displays a keen sense of timing and a real awareness of how to make a point with edgy wit and then move on to the next target as we’re still admiring her willingness to go there, and there, and also there.

On the surface, The Burial is about a contract dispute between a white small business owner and a white billionaire. Soon, though, it becomes about much more than that, and the result is a thoroughly entertaining, old-fashioned yet timely courtroom thriller.

Here is a film that dabbles in fantasy yet gets everything right about that fleeting summer when you’re between the end of your youth and the beginnings of adulthood.

Sure, these guys now have a budget to work with and they can pull off some elaborate stunts, but we’ve seen so much viral, backyard Jackassery through the years, the shock value has dissipated and all that remains is the cringe factor and a growing feeling of restlessness as the gags become repetitive and tiresome.

The talented young leads acquit themselves well here, but this is also the kind of movie that provides the forum for not one but two of our finest character actors to deliver performances so hammy you’ll be reaching for the spicy mustard sauce.

The jaw-dropping visuals and pulse-pounding sound editing in Dennis Villeneuve’s stunningly gorgeous Dune are so awesome it makes up for the slow-moving and quite familiar storyline, which is basically the New Testament meets Mad Max meets Star Wars.

Rush ranks among the best movies about auto racing ever made, featuring two great performances from the leads, who capture not only the physical look of the racing legends they’re playing, but the vastly different character traits that made their rivalry, well, made for the movies.

There are times when this film feels absolutely real and lived-in, as when Paul’s extended family gathers for dinners where everyone talks at once and nobody is listening, and you can feel the tensions but also the enduring and abiding love at the table. Unfortunately, Gray’s central young character isn’t as sympathetic or likable as the talented filmmaker must have intended, and the constant lecturing about white guilt among liberals is delivered in all caps, with exclamation points.

There’s something irresistible about the story of the former pizza guy who invented the modern concealable bulletproof vest, and Richard Davis isn’t about to let the doubts about his origin story or some of the terrible missteps he made along the way get in the way of that tale.