If Mommy counts as a slight creative step back, and I would argue that it is, it's at least an elegant and purposeful one.

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

Overall, American Sniper is a solidly-staged but unexceptional picture, filled with overly familiar dramatic situations and a surprisingly blindered view of the world around its central character.

I think Mission: Impossible - Ghost Protocol is the most consistently entertaining, most laser-focused entry in the series so far, and while I would argue that it is very much a sequel to the third film and not just a disconnected piece of a flexible franchise, it is also a great rollicking self-contained spy movie adventure on a grand scale, and it's preposterous fun.

Both of its time and of the moment, Straight Outta Compton is potent and largely successful, and makes a hell of a case for why this was a story worth telling.

A slightly bumpy two hours of storytelling, but it's peppered with wonder and unexpected humor.

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.

The unexpected comedy bits, great music and an insightful point of view all contribute to making "Dope" something special, but it simply wouldn't fly without Moore.

The film lives and dies on Moore’s portrayal. She succeeds smashingly.

Where Imitation Game ultimately falters is in tackling Turing's later years and subsequent demise. In some ways, this period is meant to bookend the film, but instead just leaves unanswered questions while diminishing actual historical events.

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.