The fulcrum to the success of Goosebumps, it must be noted, is the perfect casting of Jack Black as Stine.

The intended charms of the down-home period piece/Southern comedy/romance/drama Big Stone Gap were utterly lost on me.

One of the most entertainingly ludicrous movies of the year.

Freeheld is a classic example of a well-made, well-acted film with the best of intentions — but a disappointingly heavy-handed method of delivering its message.

Full of non-stop action, an intriguing new take on J.M. Barrie’s classic “Peter Pan” tale and some old-fashioned, swashbuckling mischief led by Hugh Jackman, director Joe Wright’s Pan is one heck of a charming romp.

The reality depicted is sometimes too emotional to watch, because it’s such a personal story for all involved.

Douglas Tirola’s Drunk Stoned Brilliant Dead is a frenetic, rough-edged, unapologetic tribute to the Lampoon, featuring some amazing archival footage, nifty bits of animation and dozens of straightforward talking-head interviews that crackle and pop.

The mystery is muddled, the romance is tepid and scenes that should be electric with tension are almost dull.

A provocative, visceral, sometimes heartbreakingly relevant drama/thriller.

Mississippi Grind is the cinematic equivalent of the unassuming, quiet player at the poker table who allows you to believe you have him pegged — and that’s when he springs the trap on you and shows you something you never saw coming.

Damon is terrific. The movie lives and breathes on his performance, and he comes through in every scene.

As breathtakingly gorgeous and well acted as The Walk is, if you had to choose between the doc and this solid fictionalized version, I’d say go with the documentary.

Goodnight Mommy is the kind of movie you should experience without watching the trailer or learning too much about it — and then experience again with the full knowledge of what happened, so you can admire the ways in which the puzzle was put together.

This is an OK movie about a serious subject and an important milestone in the road to gay freedom and equality. It’s just a shame it didn’t accomplish the kind of cinematic punch as did the Oscar-winning “Milk.”

With some genuinely insightful dialogue, a number of truly funny bits of physical business, and small scenes allowing us to get know and like a half-dozen supporting players, The Intern grows us on from scene to scene, from moment to moment.

The last act of A Brilliant Young Mind is undeniably moving but not entirely believable and a little too neat and clean. Still, long after you’ve seen the film, you’ll remember the wonderfully nuanced work of the cast.

It’s an unusual mix of big-picture issues, grindhouse pulp and pure, rough entertainment, bolstered by one of the better ensemble casts of the year. This movie is not, um, fussing around.

This clunky dud about a same-sex union would have come across as trite and behind-the-times 20 years ago, let alone in 2015.

Sudeikis and Brie make for one of the most endearing pairings of the year, and Headland has delivered one of my favorite romantic comedies in recent memory.

Edward Zwick’s Pawn Sacrifice is an enthralling piece of mainstream entertainment that captures the essence of Fischer’s mad genius, perfectly re-creates the tenor of the times AND works as a legit sports movie about the great game of chess.

This is a good, solid, well-executed crime story. Nothing more, nothing less.

Based on true events, filled with stunning visuals and featuring more than a half-dozen of our best actors delivering solid performances, Baltasar Kormakur’s Everest is a high-altitude roller coaster ride that will leave you drained.

It’s a dopey, only mildly chilling, uneasy mix of horror and dark comedy, scoring few points in either category.

The film never allows the audience to truly get to know any of the characters in Larry’s world.

Always nice to enjoy a little comfort-food movie in which almost nothing surprising or particularly fresh happens, but we’re happy to spend time with the characters and we wish them the best as the credits roll.

The climbing sequences, the storms, the drama of broken equipment and nearly broken men — all great stuff, made even more compelling because the film does a wonderful job of letting us get to know and like each of the three adventurers.

A middling sitcom.

At times Grandma overdoes it with the stand-alone scenes in which crusty ol’ Elle causes a scene or sticks it to some jerk. It’s a little too neat. Mostly, though, Weitz’s screenplay strikes sharp note after sharp note.