Beautifully shot, impeccably paced, and with a voice cast that nails it in every role, large or small, "The Lego Movie" is a genuine delight.

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.

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.

I was moved by Interstellar, and there are stretches where it is as good and as pure as anything Nolan's made. You can feel just how important all of it is to him in every frame of the thing. I don't love all of the film's dramatic choices, though.

Sicario starts and ends with Blunt’s impassioned performance (and she's spectacular in her final scene), but it’s Del Toro who is the real standout.

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.

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

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.

Mostly thanks to Barnz's direction and Aniston's performance it all starts to gel.

The film is at its best when it simply focuses on this strange dynamic between the two couples and the way they are each looking for something from the other that they don't dare articulate for fear of having to grapple with these weaknesses or flaws in themselves.

Mbatha-Raw is shockingly good in creating both the "Noni" public persona and the real Noni.

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.

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.

Edgerton, who also wrote the screenplay, shows a masterful touch in playing with conventional expectations.

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.

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.

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.

[Bateman] proves himself just as comfortable behind the camera as he in in front of it, and "Bad Words" is very, very good as a result.

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.

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.

It's an excellent showcase for Paul King, for the tremendous character animation by Framestore, and for Ben Whishaw's delicate, inquisitive work as the title character, and it is one of those rare family films that actually seems to think of children as smart and full of empathy.

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

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.

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.

It's full of laughs and, towards the end, I even got a bit choked up in places.

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."

This sort of storyline could go wrong very quickly, but thanks to some fortuitously funny moments, Vallee’s assured direction and Gyllenhaal’s spectacular performance it’s surprisingly compelling. And, let’s be absolutely clear: it’s Gyllenhaal who keeps it all together.

Manglehorn is a lush, hazy drama that requires a certain open-mindedness, but there's no doubting the craft of its director, who continues to prove himself one of the less predictable and most skilled craftsmen around.