This is a well-made, well-acted but unexceptional film about one of the most exceptional figures of the last half-century.

Carrey and Daniels throw themselves into the characters they inhabited 20 years ago, whether it means allowing their crotches to be doused, using their rear ends as comedic weapons, or just saying really stupid things. Sometimes it’s pretty damn funny. Almost always, it feels just a little bit desperate.

The gray, drab monotony of the setting seeps into the marrow of the prison drama Camp X-Ray, though it’s invigorated, somewhat, by strong central performances from actors on opposite sides of a locked steel door.

Binoche does an excellent job showing her character’s conflict, though it is not until later in the movie that we learn why she so eagerly runs into danger.

A perfectly cast film that depicts a moody world of jazz musicians, drugs and self-destruction.

Glen Campbell: I’ll Be Me is a poignant, stark, lovely and sometimes devastating film — a tribute to one of the great crossover stars of his time, and an unblinking look at how Alzheimer’s relentlessly chips away at one’s memories and thought process, brick by brick. It is worthy of an Academy Award nomination.

Plummer and MacLaine are, of course, consummate talents, but they’re left coasting in a film that provides each with the barest of character sketches.

What a beautiful and epic film is Interstellar, filled with great performances, tingling our senses with masterful special effects, daring to be openly sentimental, asking gigantic questions about the meaning of life and leaving us drained and grateful for the experience.

For those curious about the brains behind the sitcom’s pop-culture savvy and the heart it wears on its sleeve, “Harmontown” makes for an eye-opening extra.

This thoughtful film is designed with taste. Music is minimal. Cuing a little Nine Inch Nails at the end, Poitras enables “citizenfour” to commit an act of reverse surveillance on the NSA.

Hellaware doesn’t really have anything new to say about its art world subject... But Bilandic does perfectly capture the laid-back style of the twentysomethings (the lead actors all do fine work) and manages to present a fresh story of callow youth caught up in their own American odyssey.

This is one of the worst movies of the year.

It’s a brilliant performance by Gyllenhaal in a film that veers from dark satire to tense crime thriller before the tires come off near the end, leaving the entire vehicle just short of worth recommending.

[A] slightly diverting documentary.

Despite its cast and convincing backdrop, Stonehearst Asylum is a tame entry in today’s roster of horror films.

The message of inspiration is strong and certainly qualifies as solid family entertainment. I only wish there were fewer trite truisms scattered throughout the script and less predictable dialogue for the solid troupe of actors to deliver.

Philip is one of the most unlikable but also one of the most fascinating characters of the year.

Although there are moments when the characters in Dear White People sound as if they’re reciting different sections of a thesis, overall Simien’s screenplay is tight, funny, smart and insightful, and his direction has just enough indie feel without becoming too self-conscious or preachy.

A lean, spare, stylish and grimly, methodically ultra-violent extravaganza that provides star Keanu Reeves with a much-needed infusion of cool. And hard-core action fans with combat-centric cinematic expertise on a par with 20ll’s “The Raid.”

This is a strange and beautiful and unique film, one of the best movies of the year.

Hicks may devote too much time on hospital errands and bedside moments as Terry’s health declines. But he succeeds at honoring the career of one man who is helping another’s.

While The Good Lie certainly doesn’t shy away from scenes designed to make us shake our heads at man’s inhumanity to man and scenes designed to make us dab at our eyes, it’s the kind of movie that earns those moments.

The Book of Life is a delight. In an animated universe cluttered with kung-fu pandas, ice princesses and video-game heroes, Gutierrez and del Toro have conjured up an original vision.

Regardless of Crudup’s ranking as a box-office draw, he’s every inch the movie star in Rudderless, a rather strange but engrossing film with one of the more jarring twists of any film in recent memory.

Pitt is at the top of his game, playing a man who has forgotten whatever he used to be and has wholly embraced his role in this war.

The Best of Me was a better film than I expected. Much of that is due to the performances delivered by Marsden, Monaghan, Liana Liberato and especially young Australian actor Luke Bracey as the younger version of Marsden’s character.

Nearly every scene is contrived, but Melfi has a nice way with dialogue, and the cast is uniformly outstanding.

The music is brilliant, Chazelle’s writing and directing are something to behold, Teller is really good — and Simmons delivers one of the most memorable performances of the year.