Tirdad Derakhshani

It's hard to know whom to blame for this futile exercise: Morris or Rumsfeld.

A delightful, sharp dramedy that skewers the topic from every angle imaginable.

A startling, powerful biopic.

A dazzling documentary.

If you’re looking for great, realistic action, it’s just the thing. Berg is a masterful action director, and his Patriots Day is every bit as engaging and exciting as "Lone Survivor" and "Deepwater Horizon."

At turns horribly funny and simply horrific, Piven's film suggests our therapeutic age has reduced us all to psychic cripples who resort to emotional exhibitionism in lieu of honest self-examination and self-expression.

A taut, understated minimalist masterwork.

I've rarely encountered such pure poetry of action as in the opening minutes of Deepwater Horizon, director Peter Berg's exciting and emotionally wrenching thriller.

Unexpectedly fresh, alive, and vibrant - and wonderfully traumatizing.

Iceland is beautiful. Really, really, really - really - beautiful. That pretty much sums up the new feature film Land Ho! That message is the film's alpha and omega. Its raison d'être. Its soul and its being.

A quiet, modest chamber piece more like "Moon" than "Star Wars."

A sly, richly modulated, emotionally engaging, and brutally honest film.

The Green Prince is an extraordinary achievement. It has all the suspense of a great espionage yarn, but it's also a powerful moral document that calls into question the tactics of terrorism.

It's easy to mistake the simplicity of plot and theme here for simple-mindedness - this isn't Pynchon or Proust. Kung Fu Panda 3 has the economy of a Zen koan, not to mention its inner harmony and wisdom.

A remarkable, thoroughly disturbing creepshow that burrows deep under your skin and refuses to let go.

A violent, sexy, crazy actioner about supermarket products that rebel against their human consumers, Sausage Party is one of the funniest and most deeply offensive movies of the year (it's obscenely funny), which lambastes America's most sacred of sacred cows: religion.

Wiener-Dog has a satirical edge as sharp as any Solondz has fashioned, but it is also filled with disarming moments of absurdist humor.

Michael Keaton has this incredible, I’m-at-the-edge-of-the-abyss look that should be taught as "the hangdog" in drama school.

Phantom Boy will appeal to children who have the patience and imagination to immerse themselves in the film's wiggly animation.

Storks feels way too much like a belabored and mediocre SNL sketch. Each character has some neurotic tic or crazy fixation, which they expound upon in monologues that feel like material for a stand-up act or a sitcom.

While it flirts with the ridiculous, the film manages to maintain a certain gravitas as its many stories unfold.

Yates and Rowling skillfully weave their bleak – and very blunt-edged – message into the fabric of the story. It might be wildly out of place in a fantasy aimed at tweens, but it’s a welcome change from the usual vapid blockbuster.

Deadpool is, on the whole, a big bowl of fun filled with great stunts, gory fight scenes, and sexy poses.

A tediously faithful remake of French filmmaker Luc Besson's terrific 2004 international hit "District 13," the Besson-produced Brick Mansions might have been mildly interesting had it been made a decade ago.

While its rather formulaic second half relies on clichés about underdogs' triumphing against the odds, The Idol opens with a terrific look at Assaf's childhood that has the feel of "Stand By Me."

Featuring an awe-inspiring, stellar performance by Parks and Recreation's (and Wilmington's) Aubrey Plaza as Beth, the film opens with the high school girl's short-lived death.

Rogue One is a minor little story with a likable cast and familiar Star Wars themes. But it tries so hard to be an epic masterpiece – with self-important speeches and an insanely outsize orchestral score – that it ends up a laughable parody of itself.

Rosamund Pike is adorable, if a little too ethereal and flighty.