As a love letter to a talented and endearing soul, it's hard to fault Love, Gilda. Like its subject, it feels remarkably honest and genuine.

When executed with love and peopled with actors who breathe life into their characters, Hidden Figures is precisely the delight it aims to be.

Affleck is the center of the film. His Doug is, in some respects, rather like Affleck - the director of the elaborate heists, as well as a performer in them.

A delightful look at the public career and mostly private life of the ultimate professional amateur.

Although at times maybe not enough happens, it’s still a satisfying homage to a golden age of American film and an original achievement in its own right.

Wieckiewicz is outstanding, his open face expressing a full range of emotions, often within the same scene, sometimes within the same conversation.

Although Jonah Hill has been sweetly, profanely funny in such films as "Superbad" and "Get Him to the Greek," in Cyrus he's a revelation.

East of Wall looks great on paper, but when Beecroft decided to toe the line between fact and fiction, it ended up falling short of either. Neither a true documentary nor a drama, "East of Wall" lacks clear direction and the dialogue reflects that.

There is something compelling about someone who simply shows up for the job, day after day, carving out the remarkable from the unremarkable.

In Interstellar, Nolan has created a universe where ultimately the possibilities are endless. At its best, the film feels the same way.

Herzog’s longing for the ideological purity in which these lives are lived, free of paperwork and bureaucracy, taxes and technology, drives the film, which lacks an overall story arc. And that longing makes the title’s veracity a little suspect.

Everybody Loves Somebody doesn’t reinvent the rom-com, but it manages to take the formula, shake it up a bit, and come up with something that feels fresh and inventive.

What makes Joy Ride stand out among other R-rated comedies is its heart, smart writing and attention to detail in each of the characters that comes from the unique perspective of an Asian director and cast tapping into shared experiences, stereotypes and cultural particularities. I haven’t laughed this hard in a movie theater in a very long time.

The animation is first-rate, and the settings and background are appropriately exotic. The fights are a lot more exciting than you would think. And if the story is somewhat predictable (and the final blow somewhat difficult to fathom), one could find lesser heroes to root for than Po, although none more unlikely.

What's most enjoyable about Crazy Rich Asians is that, while it never forfeits its sense of responsibility, it also never forfeits its sense of fun. Chu wants you to slobber over the settings, to imagine what a life like this might be like — and to ensure that being Asian is a part of that.

If you want pinpoint accuracy, watch a documentary. If you want to see top-notch actors inhabit characters in genuine and ultimately moving ways, The Duke is a much better option.

Author Olaf Olafsson helped write the screenplay and you can feel his intentions throughout. There is a literary beauty woven throughout the film. He asks you to examine what it means to reach out and touch someone — or have someone touch you. Both the physical and the metaphysical are orchestrated wonderfully.

To watch Cage ride this rollercoaster of popular culture is a pure delight. It’s also agonizing and will make you squirm.

Take my word for it, or better yet go find out for yourself: Big Hero 6 is a treat.

It is a sweet, gentle, at times beautiful movie that does not gloss over the ugliness Steele, a transgender woman, references.

Mommy is a film as harrowing as it is exhilarating, a story sometimes hard to watch but impossible to turn away from.

Young is one of only a handful of artists from his generation still making vital contributions, or even trying to. Some of his efforts are hit-and-miss, but he's still in there swinging. He never stops moving, changing, evolving, and it makes him fascinating.

Thanks to Larson’s songs, Miranda’s directing and generous, inspired acting — particularly from Garfield, who manages to be lovable and obnoxious, depending on what’s needed — tick … tick … Boom! is a moving tribute to a misunderstood process and the people who engage in it.

It lags in a few places, but She Said gives you a journalism story to cheer for.

What's really cool about the film - in addition to Jake Gyllenhaal's performance as Stevens - is how Jones makes sure that we don't know any more than Stevens does, right up till the end.

On the whole it’s a remarkably controlled exercise. It’s to the film’s credit that Moll is the center of attention from start to finish, and not even a romantically damaged bad boy can steal the spotlight from her barely contained wildfire of emotions.

Cage is getting down and dirty again in Joe, and it's pretty remarkable — the performance more so than the film, and the film's good.

Thor: Ragnarok is a blast, pure and simple.