Steven Rea

A Summer's Tale is one of those movies where it looks like nothing is happening; there is a lot of walking and talking (against exquisite backdrops), dissections and discourse about the intricacies of romance, the false signals, the fickleness.

The Trip to Italy doesn't feel entirely new, but there's comfort in familiarity, too. And as Brydon and Coogan note in one discourse, it's the rare sequel (The Godfather: Part II) that's better than its forebear.

An efficient, if not exactly inspiring, espionage thriller, full of high-tech gadgetry (surveillance drones! flash drives!) and low-tech action (car chases! shootouts! a shovel to the head!).

If Matthew Weiner's Are You Here is good for anything, it's to illustrate how the themes and conflicts he has worked out with such depth and dexterity in all these seasons of "Mad Men" can go terribly amiss with the wrong actors, wrong backdrop, wrong tone, wrong time.

A delightful, oddball surprise.

Any movie that considers the possibility of an afterlife, or the possibility that there isn't one, without first getting all postapocalyptic about it, merits some respect. Stay, Mia, stay!

Filmmaker Maria Sole Tognazzi is going for a quiet, thoughtful character study: a modern woman, sure of herself, but still trying to come to terms with her place in the world.

It's all head-spinning and lovely - and a little exhausting, too.

A dark, shaky, standard-issue superhero picture.

Calvary is also just jaw-droppingly beautiful. McDonagh and cinematographer Larry Smith capture the four-seasons-in-one-day miracle that is Ireland, with its jagged stonescapes, roiling surf, fairie towns, and bracing skies.

What If boasts a couple of near-classic comic moments, one involving jalapeno peppers and a precipitous fall.

It would be curmudgeonly to count all the ways in which The Hundred-Foot Journey is unsurprising, unrealistic, unnecessary.

Nicely timed to cash in on the Ebola panic, Cabin Fever: Patient Zero - the prequel to the gross-out franchise about a lethal flesh-eating virus and its party-hardy victims - isn't going to do much for the tourism trade in the Dominican Republic.

Code Black is sobering stuff. The American health system, McGarry's film argues, is broken. But the film is undeniably inspiring, too: Despite everything that is wrong, there are nurses and doctors and technicians determined to do things right.

For all its visual delights, Magic in the Moonlight, the 44th feature written and directed by the admirably industrious Woody Allen, has to be one of his bigger duds.

Is it dumb to say, "Wow?"...I don't care. Wow.

The Killer Inside Me is tough, disturbing stuff: We're tagging along with a sociopath as he explains himself, reveals himself, works things out inside his head.

A Most Wanted Man's cast - a mix of Germans speaking English, Americans speaking English with German accents, Russians, and men and women from the Middle East - is uniformly stellar.

Wickedly smart and wickedly playful, Roman Polanski's adaptation of David Ives' Tony-nominated Venus in Fur works on so many levels, it's almost dizzying.

At a certain point in Dawn of the Planet of the Apes, you expect Caesar to say, "Et tu, Koba?" Maybe a bit obvious, but it would have shown some wit.

Supermensch is one of those truth-is-stranger-than-fiction tales.

In Don McKellar's remake of "Seducing Doctor Lewis", a 2003 French-Canadian comedy, the charm feels force-fed.