Yes, it’s another sports movie about underdogs reaching for the stars and winning, but what makes it unique is Starks’ interesting story and the fact that it’s about golf.

No God, No Master has an authentic period feel. But Green is focused on so many historical figures and potential storylines that the film feels rushed and, at times, confusing.

As earnest and heartfelt as a movie can be, Walking With the Enemy is, unfortunately, a plodding and clunky drama that never misses an opportunity to embrace a cliché.

It’s only mid-April, but I’m making an early reservation for The Other Woman to appear on my list of the 10 Worst Films of 2014.

Far more than just a tribute to the career of the world’s most famous and influential film critic, the often revelatory Life Itself is also a remarkably intimate portrait of a life well lived — right up to the very last moment.

Focusing on Rumsfeld’s 2001-06 stint at the Pentagon, Morris scrutinizes his rhetoric and rationale for attacking Iraq and Afghanistan. Tactics and costs take a back seat to semantics.

Jim Jarmusch stocks his latest low-key indie with more than his usual characters in low-velocity drift. The Akron-born auteur infuses the title couple of Only Lovers Left Alive with his taste for culture, if not cuisine.

Kristen Wiig’s performance in the unfortunately titled Hateship Loveship is so beautifully muted it takes a while to appreciate the loveliness of the notes she’s hitting.

Sometimes The Railway Man is hard to watch. It’s also hard to imagine anyone watching it and not being deeply moved.

Transcendence is a bold, beautiful, sometimes confounding flight of futuristic speculation firmly rooted in the potential of today’s technology.

This company of actors pulls together and delivers a lot of punch to a pedestrian script inspired by quite an amazing tale.

We’re just watching Jude Law, who gained some 30 pounds for this role, acting his rear end off but also spinning his wheels in a story that never amounts to more than a collection of vignettes about Dom’s life after prison.

A little more fury might have been a whole lot better.

With a splashy Brazilian-themed musical score, top-notch voice talent and sharp-witted writing, the sequel to “Rio” is one delightful animated romp. It’s as good as the first one and sure to please both the kiddies and adults with its two-tiered humor.

Gripping and at times agonizing.

Oculus is one of the more elegant scary movies in recent memory.

Weird. Brilliant. Stunning. Under the Skin is by far the most memorable movie of the first few months of 2014.

A sentimental, predictable, sometimes implausible but thoroughly entertaining, old-fashioned piece.

It’s a big puzzle that the filmmakers piece together in an intriguing and engrossing way.

The brief but informative (and kid-friendly whimsical) Island of Lemurs: Madagascar is basically a status report on the creatures, who exist nowhere else on Earth.

For all of von Trier’s attempts to go big and go bold, the two Nymphomaniac films ultimately come across as a self-indulgent marathon run on a treadmill.

If what you’re after is insane, mind-bogglingly violent martial arts action, “The Raid 2” is quite possibly the ultimate.

A cringe-inducing mess.

Co-directors Joe and Anthony Russo and the team of screenwriters have fashioned a story with just the right balance of superhero fun, nods to the greater Marvel Universe and genuine dramatic tension.

There’s a glint of a clever idea here, but writer-director Ramin Niami’s reliance on tired rom-com tropes only serve to drag down the film, which plays out like a Harlequin romance.

[A] diverting documentary.

Strangely haunting, often heartbreaking.

Breathe In is all simmer, no boil, despite an abrupt, overwrought, agonizing emotional climax that’s too much, too late.