You might say the lack of a Hollywood narrative arc is both a strength and a weakness in this film, because Lipitz isn’t entirely clear about what story she is trying to tell.

The club scenes, initially exciting, are ultimately wearying, and the movie meanders about much of the time.

The acting is uniformly great, as strong an ensemble performance as you’ll see. Franz’s direction is assured.

The movie’s best moments are the small ones.

It is intelligent, moving and wholly original.

My interpretation is that it’s a scary, funny film with a lot beneath the surface. And it’s certainly preferable to watching the news.

It doesn’t always make sense. But it is fascinating — and fun — to watch.

Once it's done, you feel terrible for these people, for their lives, for their daughter, especially. Is that entertainment? To each his own, but it is compelling and, yes, rewarding.

The movie just hits the nail on the head: that sense that we're just going through life, trying to navigate it the best way we can in each moment. There are a lot of things to love about Truman — including the dog — but that could be one of its best and biggest attributes.

We are daily reminded of the importance of a free media, of free speech. The Dissident is a reminder of how far some governments will go to suppress it.

Top Five is a funny movie, but Rock has his sights set higher than lowbrow, and for the most part, he succeeds.

Yes, the latest Pixar offering involves a journey to the Land of the Dead, which by definition requires people to, you know, die. That's always sad. But there's joy here, particularly in the animation and the cinematography; the Land of the Dead is a beautiful place, which is kind of comforting

Hanks could do this kind of role in his sleep; luckily he doesn’t. Like Spielberg, we probably take him and his gifts for granted. Between the two of them, they make Bridge of Spies a movie that works as a period piece and a timely commentary on how we live now. If that sounds like faint praise, it shouldn’t. Because it’s not.

Shaun the Sheep Movie manages to be smart, moving and hilarious without the inclusion of a single word of dialogue.

Miller maintains control over the proceedings at all times, which is impressive enough. But where he really soars is in the performances he gets from his three lead actors.

A delightful film - gentle, playful, creative and ultimately happy - though it's a tricky journey.

Calling Jackie, director Pablo Larrain’s absorbing film, a construction project is not to demean it but to praise it.

There are a few examples that illustrate what makes “Turn Every Page — The Adventures of Robert Caro and Robert Gottlieb” such an exciting documentary. Yes, seriously, exciting.

Raw is a lot of things: a terrific feature debut by a promising filmmaker; an effective metaphor; an acting showcase; and, not least of all, a gross-out horror film.

Inherent Vice is an aggressively weird movie, which you should take not as a warning but as a compliment and an invitation to see it, to let its stoner vibes wash all over you.

What’s as striking as the violence is Fargeat’s confidence as a filmmaker. She risks absurdity at every turn, fearlessly daring the audience to accept unlikely scenarios. Take that challenge. However difficult “Revenge” may be to watch at times, it’s worth it.

It’s a heartbreaking journey with moments of real triumph, including Turner playing to a crowd of 186,000 in Rio and the audience clearly adoring her during a curtain call at the musical based on her life. But every triumph here is offset by the sense that there are scars that never fully healed.

The genius in Wright’s performance and Jefferson’s direction lies in how they don’t succumb to the temptation to overplay anything. Wright gets Monk’s rage just right — it’s internal, though at some point a pressure cooker has to blow.

Whatever you like or hate, or like and hate, about Quentin Tarantino's movies, is in full display here. It's long (too long) and bloody, profane and gleeful, with movie-genre references stuffed so tightly into each scene they practically spill out onto the theater floor. Restraint is not his strong suit...Entertainment is, and Django has plenty of that.

A Girl Walks Home Alone at Night is a terrific film, if you give yourself to it. You should, because, with Amirpour's blending of influences and pop culture, she has created a true original.

Peele’s visual audacity is at times breathtaking, and always serves a greater purpose. There is a beautiful overhead shot of the family walking along the beach, carrying their supplies, casting long shadows. There’s no way to know in the moment you’re admiring this that it carries meaning that informs the rest of the film. That’s just terrific filmmaking.

The Big Short manages to entertain you while making you really, really mad.

What it lacks is magic, or at least a decent amount of it.