Richard Roeper

Kimi is filled with the kind of sparkling cameos and supporting work we’ve come to expect from a Soderbergh cast — but always and throughout, this is Zoë Kravitz’s vehicle, and she delivers a smart, empathetic and badass performance in this nifty gem about a woman who has to step outside in more ways than one.

This is Agnes’ story, and this is Kelly Macdonald’s movie.

There is much to admire about “Conclave,” but in the end, all of its lofty aspirations come tumbling down due to that poorly constructed Jenga tower of a plot.

Rogers Park is poetic and lovely and muscular and unforgiving at the same time, much like the area itself and the city as a whole.

The cast is outstanding, with Mikkelsen leading the way in a nomination-level performance as Martin. Another Round is filled with memorable sequences.

In the middle of all the wince-inducing, limb-bending, bone-crunching, face-exploding bloodshed, Vaughn turns in a legitimately great performance that ranks among the finest work he’s ever done.

Spaeny, with the aid of Coppola’s finely honed script and the first-tier makeup and wardrobe teams, does a marvelous job of capturing Priscilla’s transition from a ninth-grader who finds herself starring in her own fairy tale to a 28-year-old mother who knew her marriage was over long before it was finally over.

The One and Only Dick Gregory is a comprehensive biography of a mercurial, brilliant and wildly funny artist-activist.

Suffice to say Levine has fashioned a twist-filled gem that leaves us a bit drained but also a little bit exhilarated by all its peaks and valleys and sharp curves.

As 16 Shots so well documents, this was a seminal moment in Chicago history, as “just another justified police shooting” turned out to be anything but that.

I’m Thinking of Ending Things is crazy good.

Gandolfini is effortlessly, quietly great.

The documentary is at its best when we observe Fox in quiet, warm and funny moments with his wife and their four children, and when it’s just Fox facing the camera, talking with his typical candor and humor about his condition and refusing to be painted as some kind of martyr.

It’s a film that works almost too hard to surprise us; some late developments are so absurd they lessen the impact of the main story. Still, Schimberg is a unique talent who excels at delivering provocative work.

Maverick is a movie made for “Top Gun” fans BY “Top Gun” fans, including director Joseph Kosinski, who wisely follows Scott’s directorial playbook nearly page for page and gives Cruise and the outstanding supporting cast breathing room to shine in alternating scenes of hotshot pilot banter and dramatic emotional impact.

Thanks to the clever, docudrama style direction by Matt Johnson, a crackling good screenplay by Johnson and Matthew Miller and searingly good performances from the ensemble cast, the scenes where BlackBerry crashes and burns are just as enthralling as the triumphant moments when an unlikely team of ragtag techno geeks based in Waterloo, Ontario, briefly revolutionized the mobile device world.

Sudeikis and Brie make for one of the most endearing pairings of the year, and Headland has delivered one of my favorite romantic comedies in recent memory.

This is one good-looking, occasionally titillating, mostly soapy and dull snooze-fest.

This is a movie that raises questions that get to the heart of the matter in more ways than one, challenges our perceptions of what it means to be human — and has a wonderfully strange vibe while doing so. It’s unsettling, in the best possible way.

This is a quiet film, moving at its own pace, reflecting life with such realism it’s as if we’re invisible guests in Gloria Bell’s life. And yet there’s something thrilling about watching such a great actress hitting all the right notes every step of the way.