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.