The characters are so well drawn (and the relatively young cast steps up to the plate) that combined with the material’s natural tension you’ll find yourself riveted to the proceedings.

The movie is as good a Blair Witch film as anyone could have faithfully delivered.

Snowden has a secret weapon, and it’s one that I wasn’t expecting: a fully-engaged and on-his-game Oliver Stone.

There are no real stakes, and I find the attempts at creating suspense to be almost offensive. Irritating, at the very least.

Southside With You is quietly romantic, but more than that, it burns with a deep sense of optimism.

Kubo works because it is so direct, so honest about the emotional story it’s telling. Knight may have epic ambitions, but he keeps the stakes very personal.

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.

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.

The Mind's Eye is straight-up sincere, earnestly played and honestly intentioned. This is exploitation fare without any wink attached. These guys aren't trying to elevate the genre… they just want to make a psychic wars horror film and blow up some heads.

Suicide Squad is not the darkest mainstream superhero comic book movie ever made, nor is it even the darkest live-action film featuring Batman ever made. However, it is gleefully nihilistic, and it takes a different approach to what has become a fairly familiar story form at this point, right at the moment when it feels like superhero movies either have to evolve or die.

There are scenes I dug and a few set-pieces that work, and there’s an overall level of intensity that I like from director Paul Greengrass. Taken as a whole, though, this is very familiar territory, and I just don’t care when the stakes are this low and the violence is this rough.

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.

This film says everything the first two films tried to say, but better and in a more coherent thematic way.

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.

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.

While Hunt For The Wilderpeople is very funny, what makes it stick is the way Waititi allows the relationship between Hec and Ricky to develop slowly, and how nimbly he sets the emotional stakes for both of the characters.

The Neon Demon’s going to frustrate anyone who goes in looking for a conventional film or a thriller that has any interest in actually scaring you. This is a ride, a carefully crafted experience, and it is precisely because it is so immersive and controlled that I would recommend it.

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.

Central Intelligence manages to be a far more coherent comedy than I would have expected, and it’s a worthy representation of the genre.

Say what you will, but Pixar understands innately that making their audience feel something deeply is the greatest magic trick in movies, and all of their work as technicians and artists are always focused on making that happen. Finding Dory may be familiar magic, but there’s magic in it all the same.

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.

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.

DePalma emerges as a charming storyteller, funny and slightly wicked, and he offers up some terrific anecdotes about his casts, his process, and his choices over the years.

The movie suffers from being the same shape as so many modern blockbusters, and the plot in the second half of the film is basically another riff on the “reach the glowing doodad on a roof to prevent the end of the world” structure. But the focus on the Turtles and the film’s overall amiable sense of goofball humor carries the day.

Warcraft errs in how much it asks the audience to juggle, and as a result, the things that the film does well (and I think there are many) are muffled somewhat.

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.

I think it is precisely because the technical work by everyone from James Bobin down is so good that I find myself infuriated by the film. So much muscle, so much effort, so much raw talent on display, and all in service of demographic-and-merchandise-driven garbage that sullies the name of the source material.

Jodie Foster deserves credit for orchestrating things with a nimble wit and a relentless energy.

I enjoyed the energy of the film, and the cast is pretty solid throughout, but there’s a big problem that is inherent to the idea that we have to make these films bigger and bigger to outdo things that have come before.

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.

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.

From scene to scene, there are some beautiful images in the fantasy world where this is set, but frustratingly, it never adds up to something that comes to life. This feels like terrific production design and costuming in search of a story worth telling.

What makes Captain America: Civil War such a terrific accomplishment is the way it takes what could have been the most crass and overcrowded story to adapt as a film and instead transforms it into an examination of just who these heroes are and what impact they’ve had on the world around them, and vice versa.

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

It’s mind-boggling that this entire thing was shot on soundstages using greenscreens. Favreau’s jungle feels like a real place, but it’s heightened and stylized and it feels like a perfect fit for the talking animals who make up the majority of the cast.

Everybody Wants Some!! offers a mature and crystal-clear voice, a filmmaker of enormous muscle who makes it all look ridiculously easy.

Whiskey Tango Foxtrot is a film of modest pleasures, but what I liked about it, I liked a lot. I hope more filmmakers figure out how to write to Fey's strengths, because she's really engaging here.

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.

I’m not sure how a filmmaker whose work normally speaks to me as clearly as Snyder’s does could deliver something that feels this confused, this impersonal, and this corporate. It is a confounding mess of a movie, and while there are individual sequences that I enjoyed as isolated moments, it is almost breathtakingly incoherent storytelling.

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.

This is a very raw, sad, and beautiful film about faith and fatherhood, and it feels just as grounded and big-hearted as the other films Nichals has made.

Economically told from the start, the film moves beautifully.

An entirely laughless affair and easily the low point of Cohen's career so far.

As crazy as the design of the world is, Zootopia ends up feeling like a genuine place. There's a vibrancy to it that runs through everything from the pace of the storytelling to the background details of the world in which the story takes place.

What Gideon's Army does is make a respectful case on the behalf of a profession that too often gets maligned.

Brutally unfunny, visually off-putting, and filled with cameos so embarrassing I am bruised from holding a cringe for a full half-hour, Zoolander 2 is every horrible decision you can make with a comedy sequel wrapped up into one nigh unbearable film.

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."

Even when they're silly, Joel and Ethan Coen are as smart as any filmmakers working, and Hail, Caesar! is a clever cartoon filter through which they examine some very sincere spiritual ideas.

What is most impressive about the final film, adapted for the screen and directed by Burr Steers, is that it gets the Pride and Prejudice side of things right, and that's what matters most.

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.

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.

Kenneth Lonergan's Manchester By The Sea is an extraordinarily wise and well-observed film about what can happen to someone when life gives them more than they can handle, and Casey Affleck's lead performance is, simply put, the model of what great film acting should look like.

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.

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.

Dunn demonstrates an impressive ability to bring his unique interpretation of the coming out process to life.

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.

It must have seemed like a nearly-impossible task when JJ Abrams and his collaborators set out to bring "Star Wars" back to life, but they've more than done it. They've made something honest and beautiful and, above all, fun, and I find myself energized by the movie and by the promise it represents.

Overall, it is false, both narratively and visually, in a way that just doesn't sit right with me, and it feels like a lesser effort from Howard, an itch he scratched but that hold little interest for anyone else.

It is as impressive as any movie released this year, but the storytelling falters in some fundamental ways that keep me from completely adoring it. Innaritu dreams big, and he has the muscle to back it up. The Revenant may not be his best film yet, but it's hard to imagine many filmmakers who are working at a higher level than he is these days.

While [Lawrence] does robust, heartfelt work in the lead in his new film Joy, this is the most miscast she's been in a while, and it's such a strangely imagined film in the first place that it never really gets its bearings.

There are a number of moments where Doughtery introduces something truly interesting and then never returns to it. Yes, the movie is perhaps overstuffed with interesting ideas, but that can be just as frustrating as a film with no good ideas at all.

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.

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.

The Hunger Games: Catching Fire more than makes the case for this as a franchise that's going to get better as it goes, and I am genuinely excited to see how they wrap it up.

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

By the time Coogler wraps things up, his film manages the difficult trick of looking back with earned nostalgia and standing alone as a genuinely strong dramatic piece.

It may be overstuffed the point of bursting, but there's much to like here.

It sounds far sexier, just based on the synopsis, than it actually plays, though, so hopefully people aren't sold the wrong movie. For those in the mood for a throwback to the doomed romanticism of mid'60s art films, this feels like about as sincere an homage as anyone could produce.

Despite the very real threat and the personal stakes and the grim weight given to things, director Sam Mendes manages to pay sophisticated, sincere homage to the conventions that define the Bond series while remembering that one of the things that makes the series such an enduring presence is fun.

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.

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.

To the bitter end, the series manages to wring some fun, solid scares out of something other invading something utterly familiar.

Walking out of the film, I might have given it a C+ or a C based purely on the fumes of Murray's better work that are present here, but the more I've thought about it, the more infuriating it is to see something this lazy and familiar from Murray at this point.

The Program works when it has you questioning how on earth this secret could be kept so quiet for so long when so many people knew exactly what was going on.

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.

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”).

The film is at its best when the storyline gets dangerously real and Bullock’s character struggles to justify the back room king making of a campaign with the needs of the country’s poor majority.

I was pleased to see that "Spies" is not a thriller so much as an ode to both American diplomacy and the tradition of moral movie fathers along the lines of Atticus Finch.

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

With no clear purpose in telling the story and no real focus in the actual storytelling, Pan never gets off the ground.

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.

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.

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

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.

Stonewall is the anti-"Selma," a movie that not only fails to fully capture the energy and importance of a true event but that fails so completely as a film that it is almost impressive.

Meyers wants this to be all sort of amiable and charming and a big warm bath of a film, and it is.

Hands down one of the best films of the year, Sebastian Schipper has directed a one-shot film that is truly a captivating cinematic experience.

Anomalisa is an extraordinarily wise film about the reasons we turn to other people and the enormous difficulty of doing so.

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.

An impressive cast and significant real-life events can’t trump the fact it’s a badly made movie.

To say Blanchett is good here is a grave understatement.

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

Its admittedly interesting source material, but the movie’s tone is all over the place and not in a good way.

If you can get past the witlessness of the world itself, there is some very good work in Equals, and fans of the cast will be no doubt pleased with the connection they have in some of the movie's best moments.

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.

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

Despite the worthy efforts of stars Tom Hiddleston and Elizabeth Olsen, the Hank Williams biopic I Saw The Light is a shockingly bad movie.

It takes a genuine master craftsman to take something as complex and difficult as this and make it look easy, but it also takes an artist with a great ear to take something as dense with exposition as this is and make it practically sing.