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.

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

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.

Only the combined talents of both Blanchett and Mara can make the film's powerfully realized finale work.

If you have a fondness for the genre and a particular love of '60s pop, The Man From UNCLE is the summer's big fizzy drink, all bubbles, and while it may be gone the moment you walk out of the theater, the smile it puts on your face will likely linger.

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.

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.

Thanks to Margulies and Ponsoldt and thanks to Jason Segel and Jesse Eisenberg, End of the Tour mostly does right by David Foster Wallace, a not insignificant feat when you're dealing with a figure who generates such passion.

Tim Johnson gets the character stuff right, and the animators do an amazing amount of subtextual work with color and with texture ripples on the various Boov characters.. It's lovely work overall, and it might be the most cheerfully benign conquering force we've ever faced on film.

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

While I think If I Stay has to do a fair amount of juggling to get its premise to work, there is a cumulative power to it that I found undeniable and earned.

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.

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.

Knock Knock has something genuine to say, and it uses some really dark dramatic beats to get there.

Mogel and Paul have a lot they are trying to accomplish with The D Train and at times it really is too much.... That being said, Marsden's career-best turn and a superb third act really turn things around.

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

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.

If you’re wondering whether you’ll believe Streep is a convincing rock musician, please. It’s Meryl Streep here. She sounds like she’s ready to open for Bruce Springsteen.

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.

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.

There is a giddy sense of glee that runs through most of this movie, making it feel like Feig can barely contain himself with all of the things he wants to do and show you in the movie.

Perhaps a little more successful when winking at genre expectations than when playing things straight, The Voices is funny, disturbing and whimsical.

It feels like the single most successful attempt to pull the shape of one of the beloved comic stories into the film world. It also feels like Bryan Singer has finally figured out how to shoot an action scene where the X-Men actually look and feel like the X-Men, and where the fantastic is handled the right way.

Fast, frequently teetering on the cusp of the ridiculous, and eye-poppingly pretty, Jupiter Ascending is a wicked slice of entertainment, and a heck of an antidote to the typical February box-office blahs.

By far, the best part of the film is the last twenty minutes or so, and it's so good that it almost makes up for some of the missteps along the way.

[Crudup] responds with a performance that's funny, heartbreaking and confidently musical, anchoring a film with a challenging and sometimes shaky premise that very much requires his steadying presence.

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.

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.