Richard Roeper

I’m not entirely convinced the ending is the perfect landing to everything that transpired before, but Arrival is not a linear adventure of the mind, and it is a film probably best seen twice.

Indeed Get a Job is an uneven, strange little movie with a hit-and-miss screenplay, some distractingly weird camera angles and a few subplots that never should have seen the light of day (or the dark of theater), but it also has an infectious charm, some genuinely funny set pieces and winning performances throughout.

This is a smart, savvy film with sabre-sharp one-liners, a half-dozen terrific supporting turns, one of the best scores of the year, a winning romance and a heartfelt and authentic performance from Rock.

Coco is full of life, especially when we’re hanging out the with the dead.

Admission has some sublime moments, most of them involving Fey and Rudd dancing around their inevitable romance. The problem is in the foundation.

Spielberg has taken an important but largely forgotten and hardly action-packed slice of the Cold War and turned it into a gripping character study and thriller that feels a bit like a John Le Carre adaptation if Frank Capra were at the controls.

Foxcatcher is a disturbing and memorable film.

Sometimes you see a play and you can imagine it being a movie. Sometimes you see a small movie like this, and you can imagine it working better as an intimate stage play.

Portman’s performance carries the day.

Through a treasure trove of archival footage, interviews with former backup singers and songwriters and other associates of Tina’s, as well as a series of interviews filmed with Turner (who is now 81) at her Shangri-La-esque chateau in Zurich, Tina is must-see for longtime fans and, perhaps more important, millennials who might not grasp just how much of an influence Tina Turner has been on generations of performers — regardless of gender.

In writer-director Cord Jefferson’s timely and sharp and subversively funny “American Fiction,” Wright is accorded the relatively rare opportunity to take the lead, and he delivers a richly layered performance that reminds us he’s one of the best actors of his generation. It’s a joy to watch.

A small and warmhearted gem starring one of our finest veteran actors in a well-crafted and emotionally involving remake of a film about a widowed curmudgeon who begins to grow and change after experiencing some major life setbacks.

It is a ridiculously entertaining (and often just plain ridiculous) monster-robot movie that plays like a gigantic version of that “Rock ’Em, Sock ’Em Robots” game from the 1960s, combined with the cheesy wonderfulness (or should it be wonderful cheesiness?) of black-and-white Japanese monster movies from the 1950s.

This is an unforgettable dance with the devil.

It’s impossible to fathom how writer-director Adam McKay has turned this material into one of the funniest and yet most sobering, not to mention one of the most entertaining movies of 2015.

Even with a terminally ill teenage son character, a pill-popping absentee mother and a crotchety grandpa character, The Forger is consistently ineffective as a sentimental tearjerker — and an even bigger failure as a heist movie.

While the overall tone of Moana is uplifting, the story makes room for some pretty deep insights.

This is one of the best movies of the year, featuring two of our finest actors at the top of their game. Wright’s lead performance is worthy of major award nominations, as is O’Connor’s supporting work.

It’s funny as hell, sometimes too self-consciously “indie” — but it leaves us with a final shot as perfect as anything I’ve seen to close a movie in quite some time.

Though this direct prequel can’t match the sheer creative audacity and heavy metal awesomeness of “Fury Road” — which was nominated for 10 Academy Awards and won six and is widely considered to be one of the all-time great action movies — it’s still a rousing and thunderous and fiery dystopian thrill ride that only occasionally pauses to take a breather over a 2 hour and 28 minute run time.

Directors Tia Lessin and Emma Pildes do nomination-worthy work in telling the story of what women had to endure in the years immediately preceding Roe v. Wade — and how one group of smart, independent, determined, resourceful and brave women in Chicago created an underground network to facilitate illegal but safe abortions for literally thousands of individuals from 1968-1973.

[A] comprehensive and expertly rendered documentary.

The Hate U Give is indeed a message movie, and yes, there are a few times when certain characters come close to becoming caricatures. But those are minor drawbacks to a story filled with immediacy and urgency but also so much heart and soul.

Goodnight Mommy is the kind of movie you should experience without watching the trailer or learning too much about it — and then experience again with the full knowledge of what happened, so you can admire the ways in which the puzzle was put together.

Glass Onion doesn’t have quite the zest and freshness of the original, and there are times when it’s a little too self-pleased with the social commentary and the meta references, but thanks to Johnson’s crackling good dialogue, the impressive production design and the sparkling performances from Craig and a whole new cast of possible suspects and/or murder victims, this is a whip-smart, consistently funny and sure to be crowd-pleasing affair.

The cloak-and-dagger stuff with the appropriately named Grace is reminiscent of a mid-20th century Cold War film. Director McQuarrie and his team are experts at staging these types of sequences.

She Dies Tomorrow is a well-crafted, beautifully acted, minimalist gem for our times.

Throughout, Bill Nighy carries the film effortlessly on his slender shoulders, reminding us of why he’s an international treasure.