Wesley Morris

What remains of the book's psychological underpinnings -- there are enough here to leave a permanent dent in the couch of any Freud-loving shrink

An alt-country paean to libidinal mothers and the little girls who clean up the mess.

Has a silly, insouciant glamour often employed to sell hair conditioners and perfume.

Fyre needs another layer. You can locate in it this national moment of brashness and effrontery.

Bridesmaids openly, comfortably turns the stress of being girlfriends into comedy. It's really about the single friend backing away from the edge of temporary insanity. This isn't the greatest such movie. That would be Nicole Holofcener's "Walking and Talking" (1996), with Catherine Keener and Anne Heche.

I've never seen a movie so perfectly balanced between unabashed nerdiness and hipness.

If anything, The Automat seeks to burnish the mystique — it won’t be hijacked by social politics even if the company’s stance in such matters appeared to be the right one. The movie opts for a starry, top-down vantage.

In an eco-horror show that politely masquerades as a documentary, the former vice president effectively warns of man-made cataclysm.

The movies are smart -- smarter than you, but not in an off-putting way. Their basic appeal, especially this new one, is that Matt Damon’s killing machine, Jason Bourne, is the cleverest man on earth. And we thrill to his sense of superiority.

For most of Lady Vengeance, Park is playing with us. But the jokey atmosphere dissipates and the fun turns inside out in the movie's last act.

Barbara Kopple and Cecilia Peck's film is a fascinating look at the intersection of commerce, celebrity, and controversy.

The sight of Adams gliding and beaming and chirping in this movie - a self-mocking cartoon that transforms into an inspired live-action musical farce - is just about the happiest time I've had watching an actor do anything all year.

An arthritic failure, genuine only when the two outcast lovers' eyes dart toward each other, then retreat.

"Angélica" feels most like the film that argues Oliveira is this close to the beyond without ever bothering to knock first at death's door.

If this is an unusually sentimental outing for Jia, it’s also characteristically tinged with woe. He’s just added a touch of sweetness to these otherwise sugarless lives.

This is the epidemic from love's point of view, a story as much about how the disease can ravage the heart as it does the body. It is also Téchiné's best film since 1998's superb "Alice et Martin," and 1994's even better "Wild Reeds."

Unlike in “Winged Migration,’’ the majestic imagery fails to tell a story or advance a message.

Gets on your nerves.

For a movie, this feels inadequate, despite its splendors and, later, its social dismay. It does, however, have the makings of a grand postcard.

What Little Children understands so well, and so poignantly, is a kind of parental existentialism that hits 30- somethings with kids: How does having children make you such a less interesting adult?

It also goes out of its way to give you a schlocky B-movie vibe by wrangling bait in the form of a bunch of Big-Gulp stupid stock characters - that's a whopping 44 oz. more stupid than you probably were bargaining for.

An army of rolled abs and their owners give the state of American race relations a beginner's workout.

The surprise here is how thrillingly bad things get.

Whitney is too funereal to be a party, too sad, strange and dismaying to cheer. Yet, in its grim, guilt-inducing way, the film works, even on the occasions when it’s working against itself.

Kline's combination of pratfalls and urbanity is funny, but it rubs against the rest of the movie's effortless rustic charm. He's like Errol Flynn on a hayride.

The movie is a perfect blend of calm execution and uninflected farce.

The finest element in de la Pena's carefully assembled account is how she doesn't simply state the obvious, but lets the meaty facts speak for themselves.

It does manage to put a somewhat complex human face on the domestic troublemakers, if not their exploits.