As mysteries go, writer-director Aaron Katz hasn't really created an effective one. Gemini is entertaining, but Jill isn't much of a detective, and the big puzzle at the center of the film just sort of falls together. You never completely check out of the plot, but don't feel fully invested, either.

What’s so terrific about Stiller’s performance is that we never question his genuine love for his son. He’s just got to work through his love for himself to get there.

It’s squirmy good fun — agonizing in places, in exactly the ways you want it to be.

Naharin’s dances, amply illustrated from decades’ worth of film, is visceral, emotional and sometimes shocking.

This is unhinged genius, an amazing piece of acting. Brutal, yes, but magnetic all the same.

The movie plays to Fincher's strengths, with its dark elements and cool feel, combining for a bracing pop-culture experience.

There are some funny bits here, and younger comics like Sarah Silverman push the limits even farther; to the minds of some, they cross them.

One kudo to this lazy effort: The climax does have a real end-of-a-trilogy feel, making further sequels less likely. Silver linings, folks.

These are characters for whom true belief in a cause has probably become impossible; they know how much that costs. Marsh does a compelling job of illustrating that for the rest of us.

It's clear that de Wilde adores Emma, for all her challenges, just as much as her fictional admirers. And audiences should fall in love with her again, too.

This is not a flat and lifeless biopic in which a creation loses a bit of its wonder in the dissection of its inspiration. “Becoming Astrid” sidesteps that pitfall by focusing on the writer’s painful passage into womanhood, telling an intimate and unhurried story of quiet triumph over pain.

[Kurzel's] vision of what he wants his Macbeth to be never wavers. And he has the actors to make it happen.

It's a surprisingly moving film. While the fight scenes are unquestionably thrilling, the movie's best bits are not about winning and losing but about pain and, ultimately, forgiveness.

Director Thomas Vinterberg and Carey Mulligan, who plays Bathsheba Everdene, bring exciting life to the story.

The perfect movie for fans of "The Daily Show" who actually stick around for the second-half interview. A cinematic memoir based on the one-man show by Mike Birbiglia, it is the aesthetic intersection of Comedy Central and public radio.

Animals may be the kind of story we've seen, but it's told in a way that makes it worth seeing again.

Aubrey Plaza is brilliant in Ingrid goes West, Matt Spicer’s smart, satirical and sometimes scathing takedown of the vapidity social media sometimes injects into life.

RBG, Betsy West and Julie Cohen’s engrossing documentary about Ruth Bader Ginsburg, is clearly meant to praise the 85-year-old Supreme Court justice, and it does a fine job of it.

Alvarez puts us in the interesting position of rooting for the bad guy, and continually changing our ideas of who that is, a genuinely intriguing idea. Don’t Breathe doesn’t always live up to that potential, but for much of the movie it comes close.

Most of the complexity in the film comes from its structure, as we go back and forth in time with Bloom. It’s an entertaining journey, especially if you like to listen.

"Whitey" paints an ugly picture, but a compelling one nonetheless, and one that will put every Boston crime movie you see in a different light.

The movie is fascinating when it looks at the mechanics of Big Bird, which are physically challenging.

Strongman is a documentary Diane Arbus might have made: These are the wretched of the Earth, and our peeking into their lives feels intrusive.

You don't have to love Bruce Springsteen with the all-consuming passion of Sarfraz Manzoor, the U.K. journalist whose memoir was adapted for the screenplay of Blinded By the Light, to find the film both deeply moving and utterly charming.

The beauty in Maines’ script, and in the performances, is how perfectly modulated everything is. Maines clearly gets some digs in at the Catholic Church, and Catholic education particularly. It’s really funny.

The no-holds-barred comedy generally works, largely thanks to a game cast that plunges into the raunchy material with gleeful abandon.

This is a wonderful movie.

It’s another showcase for Streep — nothing new on that front, but still enjoyable.