It’s all perfectly, wonderfully, fantastically crazy. Amidst all those ingenious, power-packed road warrior sequences, Fury Road contains a surprising amount of depth and character development.

Sometimes you see a play and you can imagine it being a movie. Sometimes you see a small movie like this, and you can imagine it working better as an intimate stage play.

Nothing about The D Train feels the least bit authentic, and worse, little about it is funny.

Here’s proof two females can make a bickering-opposites-action-comedy that’s just as lousy and sour as any clunker starring two guys.

Wiig manages to make Alice funny as hell, endearing, sad and sometimes a little frightening. There’s not an ounce of condescension or preciousness in the performance.

Avengers: Age of Ultron is a sometimes daffy, occasionally baffling, surprisingly touching and even romantic adventure with one kinetic thrill after another. It earns a place of high ranking in the Marvel Universe.

Adult Beginners has a casual, comfortable, low-budget authenticity, though it loses some of its edge near the end with some overly predictable and familiar resolutions.

In Abel Ferrara’s lurid, sometimes grotesque, train-wreck-watchable Welcome to New York, Depardieu almost literally fills the screen as an enormous bear of a man with insatiable appetites for money, sex and power.

Even with a terminally ill teenage son character, a pill-popping absentee mother and a crotchety grandpa character, The Forger is consistently ineffective as a sentimental tearjerker — and an even bigger failure as a heist movie.

While the lead actors deliver lovely performances, it’s a shame they have to work with material so ham-handed and overbearing.

A first-rate post-World War I drama with a heavy dose of sentiment and a gripping storyline.

A stunningly wrong-footed journey that begins with an attempt at bittersweet magic and ends on a series of sour and increasingly dopey notes.

There’s enough genuinely affecting footage of its troop of primate performers doing what comes naturally to make it memorable and moving.

A contagious enthusiasm runs through the heart of Jon Angio’s Revenge of the Mekons, a documentary that celebrates and explores the evolving ethos of the seminal British punk band The Mekons while also proving that some of rock’s most interesting stories come not from success but survival.

If you’re going to go all-in with the gorgeous and chilling and sometimes ludicrous Ex Machina, if you’re going to buy into the lofty debates and the wiggy humor and the borderline misogynistic notion of the perfect woman, you’ll have to check your logic at the ticket counter.

The acting is actually pretty solid. These characters are never in the same room, so the performances amount to a collection of solo scenes. But these kids aren’t likable. Perhaps director Gabriadze and writer Nelson Greaves intended to create a Social Media “Scream” and a commentary on cyber-bullying, but Unfriended comes across as disdainful of millennials.

The courtroom scenes are unapologetically over-the-top and sometimes excruciatingly exact in the details of the murder, but you won’t soon forget Franco’s expertly nuanced performance. It’s as good as any work I’ve seen in a film in 2015, and True Story is one of the better movies to come along this year.

Clouds of Sils Maria is an expertly filmed insider’s look at the film business, the trappings of fame and the unstoppable, sometimes bone-chilling march of time. It’s complex and wickedly funny and dark, and it features the best ensemble acting of any film I’ve seen so far this year.

The film is extremely rich in visual inventiveness and depth of feeling — with numerous sequences that could almost pass muster as individual shorts.

The numerous sex scenes are so uninteresting and devoid of creativity or plot advancement, even the actors participating in said encounters seem bored.

The powerfully choreographed dances also address the idea that artistic vision is a potent antidote to repression.

The Longest Ride” treats us to a twist that’s so ridiculous I think we’re almost supposed to laugh. It’s not quite on the “Are you KIDDING ME!?” level of awfulness as the big reveal in “Safe Haven,” but it’s close. It’s close.

Virzi tends to illustrate his ideas rather than dramatically shape them, and what he has to say about money, power and the nature of greed is rarely invigorating.

This moving, Oscar-nominated documentary is an odyssey of a tragic observer.

If While We’re Young hadn’t gone quite so broad at the finish line, it would be a contender for my favorite movie of the still-young year.

This is one of the most ridiculous thrillers I’ve ever seen, and yet even with a running time that stretched well beyond two hours, with so many repetitive moments I almost began to wonder if I had missed something and the movie had started again, I have to admit I was entertained by the sheer audacity of the car chases and battle sequences — and there were even some genuinely touching moments.

Algren admirer Kurt Vonnegut, a novelist and a Long Island neighbor, called the Chicago exile ”the loneliest man I ever knew.” Caplan and Mueller invite viewers to befriend this contrary figure.

Michael Caplan’s Algren is a beguiling appreciation of the novelist, reporter and essayist.