The cinematography is outstanding, revealing the harsh beauty of the land. And the acting...is terrific. The burden rests on Eid’s shoulders, and he more than carries it. He’s a natural, showing us Theeb’s curiosity, loyalty and ingenuity while still retaining the innocence of a boy who has been sheltered from the world outside the desert.

Son of Saul offers Nemes' harrowing vision of the possibility of peace, at least within oneself. And it is a singular vision, one that demands to be shared.

At best, Ride Along 2 is what you’ve seen in every other comedic cop movie. Nothing outstanding, but mindless fun.

It’s when bullets fly that Bay is at his best. He stages the battles well, and builds tension effectively and at times inventively.

The Forest is one of those horror movies that starts with an intriguing idea but has no idea what to do with it.

Despite being peppered with dynamic fight scenes, the film drags. And the tacked-on vigilante subplot...doesn't help.

Its scale and ambition at times makes it seem like more than it is: a survival story. There’s nothing wrong with that, and it’s a good one. It’s just not a whole lot more.

Kaufman and King somehow give felt puppets an independence they might otherwise have lacked. How? The magic of movies, I guess. Or, more likely, the magic of Kaufman’s mind.

The cultural specificity and fiercely patriarchal setting sets Mustang apart. It’s a timely reminder that, even still, there are few safe havens in the world for a free spirit.

Tarantino seems to have no shortage of creativity or inspiration. What he needs to find is someone who isn’t afraid to occasionally say, “Cut.”

The script feels not half-finished, but maybe three-quarters. Lawrence does what she can to make up the missing 25 percent, but even she can’t perform miracles.

Not that there’s anything wrong with raunch. But in the Judd Apatow era of raunch-coms, Anders’ version is pretty weak tea.

Carol is a simple story that sneaks up on you. Todd Haynes takes such care in the telling of it — and the gorgeous depiction of it — that it's impossible not to be moved.

Smith’s performance, in which he resists the urge to go over the top, and the subject matter make Concussion an interesting movie, but not the urgent one it could have been.

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

Sorrentino drenches his audiences in the movie-going experience — when you’re done, it’s something akin to enjoying a rich meal, even if you didn’t quite understand how all the ingredients combined. All that’s important is that it satisfies, and ultimately, Youth does.

The camerawork makes Mond's film lovely to look at. But whether you want to spend time with James White depends on your tolerance for yet another film about how hard it is for guys who just feel too much.

The Danish Girl is beautifully shot and tastefully made and acted, but only Vikander seems willing to take chances. Happily, she does.

The movie presents a cute lesson about the importance of family sticking together.

The same effortless chemistry that made the comedians such ideal Golden Globes hosts is on full display in this broad comedy, given extra oomph by a wise and glorious R rating that opens the floodgates of creative vulgarity.

What Abrams has done is find and return the ingredient crucial to the original three films in the franchise that was sorely lacking in the second round: fun...There are some laugh-out-loud moments here, but also some touching ones. Happy, sad, exciting, silly — all that is included, along with the original sense of Saturday-morning-serial abandon that made what became known as “A New Hope” so wonderful all those years ago.

It’s an enjoyable ride, but probably not one you need to take twice.

In an age in which celebrity gossip and page views trump all, hearing two masters talk intelligently about movies and how they’re made is, if nothing else, a welcome treat.

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

The images are impressive. But the characters and their development leave something to be desired.

It is intense and uneven, moving and maddening, all in just about equal measure. But an angry Lee is an interesting Lee, and he’s really angry here.

Though there are no blazing historical insights here, the film is filled with moments of ribald humor and tender poignancy that offer glimpses into a society divided by class but united, mostly, in an outpouring of sheer, overwhelming relief.

The Wonders is one of those films that's easier to experience than explain, which is almost always a good thing.