The filmmakers insert their own bulldozer midway through the story, rendering the metaphoric literal and the literal absurd.

There are a lot of laughs in The Boss. The problem is that the space in between them is stagnant and shapeless. Falcone, who also directed and co-wrote "Tammy," is a dud as a filmmaker.

You miss out on this and you miss out on something entirely, amazingly original and jaw-droppingly entertaining. C’est magnifique!

British actor Hiddleston transcendently captures the sound of Williams’ voice and his performative swagger, and it’s something that’s worth seeing for its amazing conjuring act.

The film is also comic, mysterious, and structurally ambitious, while offering numerous points of entry and perspective.

While there’s hardly a plot to speak of, that’s never hobbled Linklater before and is indeed the director’s keenest, cleverest trick: the ability to make something sweet, honest, and true out of the ephemeral marginalia of youth minus the rose-tinted bullshit.

Krisha is an exceptionally well done slow burn that ushers a striking new talent onto the film scene. Let's hope that Shults retains that black-sheep sensibility for his future projects.

Emblazoned with ambition, this throwback Seventies-style private-eye movie (think Robert Altman’s "The Long Goodbye" or Robert Aldrich’s "Hustle") seems more invested in its form than its content.

Admittedly, the original had its unruly moments, but there’s little to no discipline here. The storyline goes in six different directions, and the actors are unleashed in an apparent free-for-all as they vie for center stage at the Parthenon.

Eye in the Sky maintains nerve-racking suspense throughout its running time and explicates some of the unknown nuances of drone warfare. Plus, you know, Alan Rickman is reason enough to see it.

Of course, the film is critic-proof, but as a longtime comic book (and film) nerd, I can say with some surety that Snyder has crammed too much of a great thing into his film, resulting in a super-slog that has just too much of everything.

Three films into the ongoing Divergent series, one would hope we’d moved beyond laying plates and folding napkins to get to something more substantial. Yet Allegiant barely makes it to the appetizer course.

There’s a certain spiritualism that inhabits all of Nichols’ films, and I’m not sure that the explanations finally offered to shed light on the specialness of this child are truly sufficient. But in the context of the movie, it all works.

This comedy has a few genuine laughs, but The Bronze never even comes close to making it to qualifiers.

This is Baron Cohen’s worst film, period.

As the goofily endearing Doris, Field is perfect. She makes this movie work.

There’s no denying the poetry at work in his film, but so much of it is inchoate and fundamentally sexualized that it becomes more of a turn-off than a turn-on. Malick’s Cups is ultimately half-full.

As Christy, Garner gives an earnest performance, her perpetually worried expression put to good use here as the Beams grapple with the unimaginable possibility of losing Anna.

10 Cloverfield Lane is a cinematic puzzle box that rewards your patience with three standout performances; a memorable, nerve-jangling score by composer Bear McCreary; and an escalating sense of disorienting confusion.

Creative Control has a knowing, caustic wit, and it’s not afraid to go to pitch-black places.

The Club isn’t an easy film to sit through (certainly not if the viewer is Catholic) but it’s a dramatically important and deeply contemporary piece of work.

Effective performances by the principals are unable to surmount the movie’s many cliches, although the actors render them more endurable. A more evocative title for this Hindu Gothic might be: "Mommies Shouldn’t Play With Dead Things."

WTF is on the right track, even if it never pulls all the way in to the station.

A quietly searing drama about morality, priorities, and absolute truth. It’s told in a matter-of-fact manner that eschews melodrama, yet is loaded with haunting human moments and circumstances.

Easily one of Disney’s more imaginative and detail-oriented CGI offerings in a while, Zootopia uses the classic tropes of anthropomorphized animals and comic references to pop-culture touchstones to slyly puzzle out what it means to be “civilized.”

Perhaps these are dark times, both onscreen and off, but even if they are not, London Has Fallen is an hour-and-a-half of viciously Us vs. Them, Trump-style bad filmmaking on all known levels.

A huge success in Japan, this thrilling, if overlong, epic from director Mamoru Hosoda (Wolf Children, Summer Wars) is part "Karate Kid" and part Japanese folklore.

Avoid it like the plagues.