The Good Dinosaur may not be as revolutionary as 1914’s “Gertie the Dinosaur,” but as Jurassic World already demonstrated this year, we never tire of these prehistoric critters.

Trumbo certainly has pep. Theodore Shapiro’s jazzy score doesn’t just boast a tom-tom – you could choreograph it with pom-poms. Maybe Roach worried that general audiences wouldn’t cotton to a yellowing story about the Red Menace, so he ginned it up with a jazz-hands idea of midcentury Hollywood, with everyone mugging like it’s a lobby-card photo shoot

Spotlight is a great newspaper movie, ranking up there with "All the President’s Men" and "Citizen Kane", and it’s certainly the best of its kind since "The Paper" in 1994, which also happened to star Michael Keaton.

Julia Roberts is the only central character whose appearance is drastically different in the two time periods, and it remains to be seen if the pretty woman with the million-dollar smile will be accepted as a character bearing a pinched face and dead eyes or whether it will seem like stunt casting despite a solid performance.

This “one crazy night” taps out at lightly kooky; there’s nothing here that gets within striking distance of the sheer weirdness of "Harold & Kumar Go to White Castle" or the darkness of "After Hours", to name two genre stablemates.

This concluding chapter is a solid culmination of a franchise that has had its ups and downs. Lawrence’s superb performance grounds the film, as she oscillates between badass archer and increasingly disenfranchised political pawn, and mercifully the late Hoffman’s CGI scenes are kept to a minimum.

This movie won’t be for everyone; you’ll need to dive back into European arthouse cinema from the Sixties to find anything quite like it.

If you’re yearning to take a sentimental journey, Brooklyn is the perfect destination.

Might be more engaging were it not for the melodrama heavily larded into the screenplay (cobbled together by numerous writers).

It’s a frustrating thing to unsnarl. Straddling the thorny fence of dramedy, Love the Coopers is a sometimes too serious, often not funny entry in this year’s tra-la-la movie sweepstakes.

Love is a maddeningly myopic film, mainly due to Murphy's squarely white-male heteronormative experience.

Room is ultimately not something you’d readily call enjoyable, but it is a cathartic and provocative reminder that life is full of possibilities and outcomes.

Despite the vividness of the movement and the philosophical underpinnings of the cause and its tactical shifts, Suffragette unfolds in a sequentially predictable manner.

A drab, anemic machine, Spectre, may bring the spectacle, but it lacks a soul. Someone get Idris Elba on the phone.

The comic strip’s late creator Charles M. Schulz would undoubtedly approve of The Peanuts Movie, given his progeny have ensured the film remains true to his artistic and humanist vision.

Director Catherine Hardwicke doesn’t need that easily-cut path through long grass; she already has a willing cast and story to get to the guts-splaying.

With this kind of competition doc, a filmmaker has to be incredibly savvy and soothsaying in selecting his subjects early on: They have to be both charismatic enough to hold the camera’s gaze and competitive enough to advance to the final rounds. In both respects, Baijnauth struck gold with his five baristas.

Solomon’s skills as a raconteur, the employees’ unabashed love for their work, and the constant stream of rock music playing in the background advance the film into something much more than a talking-heads documentary.

Sure, Peeples has a nice (if unmemorable) voice, but the vapid storyline with fantastic overtones transports Jem and the Holograms into another dimension, one that’s utterly flat. Control. Alt. Delete.

Still, "The Haunting" these films are not.

It is an unabashedly good-natured film that doesn’t ram its religious ideology down your throat.

Writer/director James Vanderbilt...sticks to Mapes’ version of the truth, and the film serves as a valedictory for Mapes and Rather. Still, the movie never negates the truth’s other strands, while also showing what a human profession journalism is.

Green and screenwriter Peter Straughan never completely go as far as they might have, satirically speaking.

There’s never any doubt that redemption is the end-game for Jones, but the claim for his saving is weak sauce; the case against him has been too emphatically, if unintentionally, argued.

The German film Victoria gives off a lustrous intensity. Filmed all in one take in pre-dawn Berlin, the film is a technical marvel inset with small jewels.

Bone Tomahawk is not your typical Western retread, to be sure. If someone had told me that it was adapted from one of Joe R. Lansdale’s genre-hopping horror stories I would have believed it. Kudos then to director Zahler, who on his very first film, buries that g--damn tomahawk deep in the audience’s memory.

Bruce Willis shows up, in full Bruce “yippee-ki-yay, mofo” Willis mode, to little effect, and while Hudson’s sassy camp follower is a hoot, there are just too many narratively bizarre subplots falling out all over the place.

Director Eisner helmed the excellent remake of George R. Romero’s The Crazies back in 2010, but this film shows none of the lunatic flair for the ghastly that the previous film so easily served up.