Reeves was born to this kind of role — quiet, moody, looks nice in black. He’s just as good as he was in the first film, because he’s exactly the same. In many ways, so is the film. That’s fine this time around, because John Wick: Chapter 2 is just as crazily entertaining.

It’s a heartfelt salute from Branagh to his hometown, and what he loved there.

Baruchel is outstanding, giving Hiccup just the right amount of confidence buried several layers beneath the shame he feels in not continuing the family business. Butler's a head-banger from way back, so he's convincing. And Ferrera gets the grrl-power vibe just right.

Between the galloping pace of the action and the percussive soundtrack and sound editing, you remain tense the entire time. Garland just won’t let you relax.

Ultimately, think of the movie as a puzzle box in which all the pieces fit together wonderfully well. Once you step back and take a look at how it’s all put together, you have to marvel at how cleverly constructed the whole thing is.

There is a predictability to the story, but that's OK. The acting is superb, Holbrook in particular, making That Evening Sun an understated pleasure.

It's stunning (and amazingly well done) and hard to believe.

Individually Christmas and Robinson are outstanding. Together they are even better, making Morris from America an unexpected treat.

This is a crazy movie, in the best possible way. Body horror films have to be willing to get nuts to really work ― “The Substance” knew this, for instance. And Franco and Brie, along with Shanks, fully commit to this.

The brutally sparse documentary Rich Hill removes poverty from the realm of the abstract and makes it personal.

Fun, happily, is one of the many ingredients in copious supply here.

Through dogged research and interviews with the (now-grown) children Maier cared for, along with their parents (including Phil Donahue), a profile emerges, and it's fascinating.

A perverse delight, the rare film that makes you feel good about feeling bad (or at least watching others do so).

It's clear-eyed and remarkably honest, and Macdonald shows a flair for illustrating how Houston's life fits in the bigger picture

This is a smart movie, a treat for fans of the comics and the franchise. And it's a lot of fun.

This isn’t a war movie; it’s an after-the-war movie. But the battle lines are still drawn, and every ragged breath the film takes braces for an explosion.

It’s an expertly directed, slow-burning psychological horror film filled with outstanding performances.

The Bob’s Burgers Movie is good. At times it’s really good, with a lot of the charm and humor that makes the show so great.

In terms of jokes per minute that land, it’s at least the equal of its predecessor.

The film is a slice of life, and although nothing earthshaking happens, at only 75 minutes long, it never quite tries your patience either.

What's nice is how smart the film is. Schumer gives a nod to plenty of other romantic comedies, not to make fun of them but to honor them. Being funny is hard work and she has put in the hours of toil.

The strength of Peace Officer is that it doesn’t attempt to pit the viewer against the police. Its target, rather, is the system.

Cavaye is relentless in his quest to entertain, to thrill.

Bigelow brilliantly builds tension, to the extent that the third version we see is every bit as nerve-wracking as the first if not more so. This is nail-biting stuff, agonizing to sit through.

Abu-Assad does a masterful job of showing, in these seemingly hopeless circumstances, the fragility of life.

McQuarrie delivers a tense, eye-popping amusement-park ride that’s almost as exciting as it is forgettable.

The great strength of The Sower is that it doesn’t try to do too much. It zooms in on its microcosm with a tender urgency that offers a glimpse of complex humanity without reducing the story to some sort of pithy takeaway.

Frozen is a delightful animated musical, a return to form for Disney animation with an intriguing story and terrific songs.