This brutal, bloody, dark and at times gruesomely funny thriller isn’t some David Fincher-esque mood piece where all the clues come together at the end. It’s more like a modern-day, Georgia version of a spaghetti Western.

The young actors shine revealing lights on their characters.

This late adulthood lark is a treat.

This is a weird, psychological sexual thriller clearly designed to get a rise out of audiences. It’s also pretty damn engrossing.

The new globetrotting, caper-packed romp with Kermit, Miss Piggy and the rest of the lovable team certainly is just as good as, and often an improvement on, the 2011 offering.

Nymphomaniac Part 1 grows flat and monotonous, and comes across as just what it is: half a film.

The strength of Burger’s movie is the fact that a non-reader of Roth’s work can enjoy Divergent and not be confused by any aspect of the storyline.

Bad Words is the kind of pitch-black dark comedy that makes you wince even as you give up on stifling the chuckles.

The Missing Picture is a wrenching yet tender memoir by Rithy Panh about life and death in the time of Pol Pot.

The stars hold the film together.

The best parts of Need for Speed are the actual racing and chasing sequences — a true thrill ride for the audience as the story unfolds.

This lame tale just falls completely flat.

As a movie, Veronica Mars looks and feels, well, like a glorified TV movie, with just decent production values, mostly unexceptional performances and ridiculous plot developments no more innovative than you’d see on a dozen network TV detective shows.

It’s quintessential Anderson... but also an unabashed entertainment. And that’s something to see.

It’s like a low-budget, Canadian version of “Ocean’s 11,” with about half as many characters and about one-tenth the charm and style.

Non-narrative films can be opaque in deep ways. Visitors slips into pseudo-profundity. That said, I’d see it again.

What it looks like is warmed-over Tarantino mixed with a third-rate tribute to the Coen brothers with a dose of David Lynch-ian madness, two decades late to the party.

The Lunchbox,” Indian director Ritesh Batra’s debut, is a witty and perceptive film that reveals the hopes, sorrows and regrets of ordinary people.

Mr. Peabody & Sherman” is a whip-smart, consistently funny and good-natured film with some terrific voice performances and one of the most hilarious appearances ever by an animated version of a living human being.

Adult World does have some smart, funny and wincingly painful things to say about the desire to make art vs. the desire to be famous for it.

This is a must-see for anyone who loves theater, acting and especially individuals like Elaine Stritch unafraid to bare their souls — so all of us can gain more insight into the complicated essence of the human condition.

Even with the uniformly good performances — and the standout work from Ms. Green — 300: Rise of an Empire is foremost a triumph of production design, costumes, brilliantly choreographed battle sequences and stunning CGI.

Yelchin is agreeably offbeat and convincingly two-fisted in the role, and Sommers, who’s always had a knack for fast-paced action with a light, comic touch, provides a few entertaining scenes here and there. Unfortunately, the horrific stuff in Odd Thomas seems gorily incompatible with the film’s otherwise breezy screenplay.

May errs in styling this human interest saga.

A cast of mostly first-time actors shade the film with a touching realism. Bakri offers a masterful performance, portraying Omar as kind and easygoing while also tamping down those traits in an atmosphere of suspicion and betrayal.

It is the story of the faith in which I was raised, and it is a story told here with great reverence and extremely faithful renditions of scenes from the New Testament. But, alas, it’s not a good movie.

There’s a good measure of comedic relief doled out between the action sequences, e.g., Neeson coming up with an ingenious plan to placate the passengers when they’re on the verge of a rebellion. This is a movie that knows it’s not to be taken too seriously.

Murmelstein answers his accusers in The Last of the Unjust. Over a compelling three hours and 38 minutes.