Tirdad Derakhshani

Williams does a terrific job portraying Nolan's ambivalence, the mix of fear, guilt, and excitement that grips him and the gradual change he undergoes in the ensuing weeks.

Central Intelligence is actually funny.

Tai Chi Zero, the first film in a planned trilogy, will leave hard-core fight enthusiasts wanting. But it's a droll, pleasant diversion all the same.

Crazy funny.

While it descends too often into the melodramatic, it's a solid, smart picture and a welcome addition to the genre.

On the whole, it's a mess of action clichés built on top of a shaky premise that's so out-of-this-world that it'll either enrage you - or make you laugh. I chose the latter. I'm not ashamed to admit that I had a lot of fun at this movie.

Araki's films have never been known for their subtlety. Think Douglas-Sirk-meets-Johnny-Rotten. He tries to rein in his tendency for the baroque in White Bird in a Blizzard, but he pushes the story too far in the direction of the grotesque.

Never again let it be said that an action movie is just like a video game. Hardcore Henry, a frenetic, dizzying, and ultraviolent actioner from Russian rocker-turned-director Ilya Naishuller is one - a first-person shooter writ large for the big screen.

Road Hard, partly funded through crowd-sourcing, is an enjoyable picture. It's sure to appeal to Man Show fans, though it withers when compared to another recent film about a has-been comic directed by its star, Chris Rock's remarkable Top Five.

Song One burns with genuine sentiment, charismatic actors, and good music. One wishes it were held together by something more than a series of moods.

At times, Spare Parts sails perilously close to the saccharine. But the film is a fine example of a message movie that does justice both to its important subject matter and to its characters' inner lives.

A stylish, painterly picture that evokes classic horror films from the 1930s.

Isn't a cheap knock-off but an equally effective, deliciously disturbing movie. It's bound to delight genre fans (and dismay critics, who attacked the first as heavy-handed and sloppy).

Gold never settles on a coherent point of view. Is the film supposed to be a critique of capitalism or is it a Horatio Alger story about a self-made man preyed upon by wall street?

It's intriguing enough to suck you in, but confusing, fragmentary, frustrating.

Just call this movie "The Hangover: AARP Strikes Back."

The characters' high-minded, if unsophisticated, patter clashes with the film's ironic-chic style, and it never manages to move beyond the late-night palaver of earnest, if naive, college freshmen.

With its female heroines and its uncertain, constantly shifting view of reality, The Girl on the Train is a bit like a cubist, feminist episode of "Law & Order." But not much more.

Anya Taylor-Joy, who delivered a heartrending breakout performance in "The Witch," is entrancing as this exotic being, Morgan.

Somehow, Reacher gets under your skin with his mordant wit, razor-sharp intelligence, and existentialist intensity.

Masterminds is filled with the sort of idiotic bathroom humor that has become standard in big-screen comedies, but it is enlivened by the surreal slapstick touches that made Napoleon Dynamite so good. Even though it isn't the sharpest comedy, it had me in stitches.

It's nothing more than a sophisticated clone of the original, and it really overdoes the shaky-camera thing - even more than in some of the worst found-footage movies The Blair Witch Project spawned.

A schmaltzy, deeply sentimentalized drama about American slavery and the rise of the Underground Railroad.

An extremely delicate, quiet, and stunningly understated chamber piece.

The Possession has none of the suspense that made Bornedal's morgue thriller "Deathwatch" such shuddering good fun. And despite the absurdly overwrought Bernard Herrmann-esque score, it has very few genuine shocks.

Two Night Stand, is a clever, if uneven, romcom about Generation Y's conflicted, paradoxical views of sex and love. Featuring strong dialogue and terrific performances, the film has moments of near-brilliance, but falls apart with a lame, conventional ending.

Well-intentioned if cloying, Miracles from Heaven has an appealing cast and an accessible take on spirituality.

Hollywood's latest entry in that tried-and-true genre, the disaster movie, is . . . well, it's like . . . a totally gnarly roller-coaster ride!