Our best fables and fairy tales are the ones that speak truth, and this version of Pete’s Dragon easily takes its place on any short list of the great films for young audiences as a result.

The reason the film works is because it throws everything into the blender and comes up with something new, something that has a great lively sense of wit and humor to it, and it takes the time to fully explore its wild premise fully.

Suffice it to say that it is a cannily-constructed film, and it does have a bigger "movie" feel than the first film. There are places where they swing for some big jokes that don't quite work, but the ambition is dizzying all the way through.

Beyond the performances, this new “Macbeth” benefits from Kurzel’s inspired eye, the increasingly impressive talents of cinematographer Adam Arkapaw (“True Detective”) and Fiona Crombie’s period-loving production design. The world they have created for this tragedy may overwhelm, but it's certainly impossible to forget.

Ferrara is openly inviting comparison with Pasolini’s work in this ambitious but messy and flawed piece, where reality bends and stretches and sensation rules.

Many moviegoers may think they already know a good deal about Hawking’s achievements, but they would do themselves a disservice to miss out on Redmayne’s almost perfect performance.

Prisoners pulls no punches, and it wants to leave a mark on you, and it is a testament to all involved that it manages to accomplish those things so well.

When you're watching something Zemeckis made, anything can happen, and reality is up for grabs. In this case, he's used his powers for good, and the end result is stirring and spectacular at times, with a devastating, if subtle, final line of dialogue.

Whatever affection I once held for this story was ruined by this documentary, and I hope that these guys are, once and for all, finished with Raiders and remaking it. I certainly am.

It is an easy sit, a big fat slice of smart entertainment. Constantly funny, startlingly violent, and oddly heartfelt, The Nice Guys is a grown-up delight, a perfect antidote to the nonstop barrage of effects spectacle that normally marks the summer movie season.

There is a faith that the story and characters will keep the audience engaged, even if there isn’t a bright and shiny thing to distract them in a every single scene.

This is a film that suggests that Morehead and Benson have something important to share with their work.

Captain America: The Winter Soldier is a tremendous piece of pop entertainment, smart and engaging and featuring a home run movie star lead performance by Chris Evans.

It's a very direct film, a lovely portrait of family and strength and just how far one voice can carry.

It’s simply a very well done movie that features Maggie Smith’s best work in years (and, yes, she’s better here than any of her years on “Downton Abbey”).

Trier is far too talented for there not to be some good things here, but it just doesn’t add up to much.

There is a very quiet, natural quality to even the most dramatic of scenes.

Palo Alto is the sort of debut picture that makes me eager to see how Gia Coppola is going to grow and change as an artist, but it's more than just a demonstration of potential.

It's impressive to see how Johnson manages tone in the film, as things go from sort of giddy and fun at the start to increasingly paranoid and then eventually taking a turn into a sort of brutal sadness.

A documentary is about storytelling and Private Violence is structured very much like a law-and-order procedural, so an investigation and a build-up to a trial that can't be featured on-screen is anti-climactic storytelling.

Whether it's past its pop-culture expiration date or not, Into The Woods deserved a more visually inventive director to help make it work, and instead, we get something that feels somehow reduced by its translation to the screen.

This film puts Nat Turner and his moral journey dead center, and it asks you to take an unflinching look at how an inhuman system broke the human beings trapped in it.

The details are what matters, and the script by Scott Neustadter & Michael H. Weber, adapted from the well-loved novel by John Green, is very smart and fairly unsentimental, which works to the material's advantage.

Shira Piven, working from a script by Elliot Laurence, has directed a beautiful, sad, sweet and funny movie that deals honestly with mental illness while also earning big laughs and offering up some hard truths. And it helps that Kristen Wiig gives the best sustained performance of her entire career in the lead.

Even though The Amina Profile works as a cyber-thriller of sorts, I think it's much more wide-reaching than that, a story about online identity, but also about the danger of media-constructed narratives, one that manages to salute both citizen journalists, but also establishment outlets like NPR.

There’s a brisk sense of invention to the film, and it feels like it is breathlessly told, something that is due in large part to Justin Lin, who has been developing a very particular approach to blockbuster filmmaking. Yes, he’s fine with the big action mayhem that is par for the course with these films, but he understands that the thing that makes any of it interesting is making sure the audience really enjoys spending time with these characters.

It is a thrilling, intelligent, deeply-felt movie that does not play by the typical rules of franchise building in modern Hollywood.

Despite Depp’s seemingly flawless efforts, less may have been more in conveying just how bloodthirsty Bulger was. Where “Mass” excels is with a stellar cast whose spot on performances keep your interest as the film moves along.

Beautifully photographed to take full advantage of the corners of a 2:76:1 aspect ratio, often hiding key character details in the background of shots in a way that demands a second viewing, this is a gorgeous piece of filmcraft all the way around.

If you’re in the mood to laugh until various parts of you hurt for a multitude of reasons, then I have a feeling Popstar: Never Stop Never Stopping will accomplish the goal. And then some.

It's a funny and moving film about aging, but it's also a wacky journey across Iceland with two characters who are instantly likable and ultimately quite lovable.

Julianne Moore seems to be the one person in the film that truly gets the tone right, playing Havana like a person walking a tightrope over a yawning pit of psychosis, her every emotion bubbling up and threatening to knock her off.

John Wick won't redefine action movies, but it perfectly exemplifies what I want from an action film when I go. Have fun with the world, shoot the action well, motivate it in a way that doesn't feel cheap.

The film is loose and genuine and makes great use of place.

Clement is the reason that Will is tolerable, because if you look at the character's on-the-page actions, he's not an especially well-developed man-child.

Not only is it uproariously funny and almost breathtakingly dirty, it is better written than it needs to be on a character level, delivering completely on its premise.

Darren Aronofsky's Noah is not just one of the most ambitious films I've seen this year, it's one of the most ambitious films I've ever seen.

Z For Zachariah may not be a faithful adaptation of a well-liked book, but as a film, it is a lovely, powerful piece of work.

If you enjoy thrillers, Flanagan expertly turns the screws here, and Kate Siegel makes a very appealing and capable hero.

Using real transcripts, and with the involvement of Dr. Philip Zimbardo, who was the psychologist who designed the project in the first place, Talbott and director Kyle Patrick Alvarez have opted to aim for something authentic and honest.

The movie wants to make a statement about the intersection of art and family, but it’s all too muddled to add up to anything that astute.

Plot is unimportant. Family is everything, and Furious 7 is a blast.

Frequently very funny, undeniably aimed at younger audiences, and true to the source material, The Peanuts Movie is too mild-mannered to win over brand new audiences, but it's going to please people who were already fond of the underlying property, and it should be a big nostalgia-driven hit for the studio.

The Book Of Life may play by the rules when it comes to story, but it plays its own game when it comes to how it looks, and in the world of animated family films, that's what really counts.

It's hard for any actor or director to pull off love at first sight, but Branagh is lucky enough that James and Madden have just enough genuine on screen chemistry to make you at least want to believe it's possible.

Web Junkie is a little sad, a little funny and a little scary. I'd say that I wish it had been a little more provocative.

Watts co-wrote the screenplay with Christopher D. Ford (“Robot & Frank”) and, frankly, it’s not as clever or compelling as it wants to be.... The filmmaker does deserve credit, however, for conjuring up some nicely tense cinematic moments.

This is a movie that is almost exhaustingly large-scale, and Ultron's ultimate plan involves a crazy visual idea that Whedon makes sort of beautiful and eerie. It's got so much action that I'm going to bet some audiences go numb after a while. But in scene after scene, there are beats and stunts and poses that suggest that an army of comic book fanatics worked on this movie.

Captain America: The First Avenger is one of the finest movies yet from Marvel Studios, and a big departure in tone and storytelling from most of the films they've made so far. It is a strong indicator that the more willing the studio is to experiment, the more exciting the payoffs can be.

By making this look like the sort of film that studios think of when they think of animation, but subverting the very nature of those movies, Sausage Party is more than funny. It’s downright revolutionary.

This is a film of tactile decadence, such a rich sensory experience that it's almost suffocating.

Considering Redmayne’s achievement it’s almost shocking that you can argue Vikander gives the more memorable performance.

To say Blanchett is good here is a grave understatement.

It's good stuff and, in a perfect world, will prompt Hollywood execs to take Winocour's directing skills very seriously.

The Good Dinosaur is fine. I found myself moved by it on a very direct level. Technically speaking, it's a gorgeous film in many ways, but I'm still not a fan of the super-cartoony style of the characters over the photo-realistic world, which is genuinely jaw-dropping.

The Dirties feels authentic all the way through, and it carries a bitter punch. It is a slight movie in terms of actual events that happen, but it grapples with some giant ideas and emotions in a very effective way.

With a rich supporting cast, a smart script, and an ensemble that is put through their paces in some intense physical scenes, The Conjuring 2 is that rare horror sequel that stands toe to toe with the original, possibly even improving on it.

I'm giving this an "A" letter grade because I find it utterly absorbing, start to finish. I don't know if I think it's a good film, but it is a powerfully compelling film. Perhaps my favorite kind of strange or insane film is the personal passion project, and "Roar" is one of the most remarkable examples of this.

As a biopic for Fischer, Pawn Sacrifice can certainly encourage viewers to research more about him. It’s just unfortunate Zwick couldn’t bring a slightly more understated approach to the entire endeavor.

This may be one of the most subversive blockbusters I can name, and I respect just how raw Francis Lawrence and his team play things. Even the "action" in the film is grim and painful and rarely thrilling.

It is almost preposterous how little "plot" there is in the film...What it has in spades is attitude, and right up until the moment the film began, I was afraid It was going to be so juvenile and filthy that I would end up annoyed by it. Instead, from the very beginning of the opening credits, it is clear that director Tim Miller and screenwriters Rhett Reese and Paul Wernick have crafted something deeply silly that isn't remotely interested in playing by the conventional rules of what we've come to think of as "the superhero genre."

Wheatley is all about control of tone and how he's using this big obvious metaphor. His film is alive with human behavior, heightened at times and stylized as hell, but alive and identifiable and crackling with a wicked energy.

Much of the success of the film is due to the four leads who seamlessly work the one or two outrageous moments into the story without resorting to over-the-top characterizations.

While there are some very strong performances in the film, the movie is inert, dramatically speaking, and covers such familiar ground that I can't really recommend it.

All the actresses do their best with the material, but only Mulligan truly transcends its limitations.

There is real wisdom and honesty in every moment of the film, and that's refreshing in a genre that is built largely on fantasy every bit as disconnected from our reality as any superhero film.

Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.

While there is an untruth at the heart of the film, it's in service of illuminating any number of smaller truths, and I find that approach fascinating.

The film's best moments are those focused on combat, and Ayer does a tremendous job of creating the details of daily life for a combat tank team in the waning days of WWII.

Ant-Man has its own voice, no doubt thanks to all of the talent involved, and it stands as a surprisingly sturdy success for the studio, a delightfully weird little movie that has no business working this well.

The film explores the way propaganda is used to set the stage for a conflict, and considering this is a mainstream franchise aimed primarily at young audiences, it's actually a pretty interesting take on how image matters as much as action in a media age.

The pacing on this one is flaccid, and while I think he has some interesting points to make, the framing device to the film is a total bust.

This may not be his signature work, but it’s Murray at the top of his game in the type of role audiences want to see him in.

The film's central conflict and Sangaile's arc's are, unfortunately, thin.

Niccol is working in a very stripped down and direct mode, and I think overall, it works. Good Kill is unsettling, and the entire cast does spare, unsentimental work.

Where Banks truly excels is in directing the film's musical numbers.

While it’s doubtful any film could match the weird giddy energy that made Pee-Wee’s Big Adventure a classic, this movie honors and expands his legacy, and should prove to be a pleasure for anyone who has ever loved this character.

It's precisely as bonkers as it sounds, and at two hours, both wearisome and claustrophobic... But flashes of fury and beauty remain.

It's a gentle, amiable, sincere little movie, and we could use about a hundred more Lynn Sheltons in this business, making movies that feel this lived in, this true.

Visceral action (including an opening sequence that masterfully sets the tone for the rest of the film); a sharply written and directed script; rich, dynamic characters; and, as promised, the world’s cutest cat (other than yours if you have one) combine to create a gut-busting, endearing, salty-sweet, and highly re-watchable comedy.

This could easily be ground zero for a whole new series of films, but if it remains a stand-alone single movie, Edwards told an entire story, and for the first time in as long as I can remember, it feels like Godzilla actually matters.

John Carney, who wrote and directed "Once," has made another great film that focuses on songwriters and the way their lives influence their work.

The film is frantic from start to finish, and I suspect it will wear some people down completely. I thought there was a point where it stopped being funny and started being exhausting, but my kids went positively ballistic for it.

As someone who enjoyed the show enormously while it was on the air, I am relieved to report that the film felt to me like it successfully recaptured the spirit of the show's first season.

Things escalate nicely over the course of the film, and there is a creeping sense of dread that is carefully calibrated.

There are moments of real wonder and even beauty amidst the slam and the bang and the big bada boom, and while Lucy is a mixed bag, it's been mixed by a master, and it is delightfully, happily insane.

The sheer sly joy of the filmmaking that is on display here is one of the reasons I go to movies.

I can't remember the last time I saw a family animation so visually rich, tightly scripted and charmingly performed which was also built on a sound and progressive message.

Like any comedy that throws 1000 jokes at you, some land and some don’t, but it’s the confident, cheerful energy of the humor that carries the day.

It is rowdy at heart, but smart about it, and it is one more reminder that Channing Tatum is really not like anyone else working in movies right now. It is also celebratory in the way that the first film was sad, concerned more with self-acceptance than running from something.

This is a case of all the elements lining up and pushing a potentially good film into the great category because of just how well executed it is.

They have tried, with this Daniel Craig run of films, to elevate the Bond movies so they are more than just acceptably silly spy movies, and one of the reasons SPECTRE is so frustrating is because it feels like the collapse of that ambition, and it is in one moment that you can see the entire thing burn to the ground.

The original Ghostbusters will always be a classic that means something special to me. The good news is, there’s a whole new generation that’s about to feel that way about this one. And more power to them.

Cranston has his moments and you have to laud his attention to detain in channeling Trumbo’s unique voice and mannerisms. Unfortunately, he’s so committed that his character borders on being a caricature.

Tomorrowland may be well-made, but whether you're talking about it thematically or dramatically, this is a profoundly mixed bag.

There's not an ounce of fat on the film. It feels like it moves forward in every single scene, and while it's a little mechanical about how it follows three-act structure, it's almost charmingly old-fashioned about it.

There are probably funnier satires out there, but They Came Together is laser accurate in the way it skewers its targets.

While Bercot's intentions are admirable, she and co-screenwriter Marcia Romano have conjured up too many moments that play out like thousands of courtroom scenes you've seen before.