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

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

To say Blanchett is good here is a grave understatement.

It's good stuff and, in a perfect world, will prompt Hollywood execs to take Winocour's directing skills very seriously.

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.

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.

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.

I'm giving this an "A" letter grade because I find it utterly absorbing, start to finish. I don't know if I think it's a good film, but it is a powerfully compelling film. Perhaps my favorite kind of strange or insane film is the personal passion project, and "Roar" is one of the most remarkable examples of this.

As a biopic for Fischer, Pawn Sacrifice can certainly encourage viewers to research more about him. It’s just unfortunate Zwick couldn’t bring a slightly more understated approach to the entire endeavor.

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.

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."

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.

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.

While there are some very strong performances in the film, the movie is inert, dramatically speaking, and covers such familiar ground that I can't really recommend it.

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

There is real wisdom and honesty in every moment of the film, and that's refreshing in a genre that is built largely on fantasy every bit as disconnected from our reality as any superhero film.

Youth has some significant points on frustration of fame, ageism and our natural inclination to lose perspective, but it’s primarily about finding peace and happiness in your life. That may sound painfully obvious. It may even sound cliché. But somehow Sorrentino is able to fashion the film's diverse elements into an emotional narrative that makes it all feel fresh and new. And that’s truly worth celebrating.

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.

The film's best moments are those focused on combat, and Ayer does a tremendous job of creating the details of daily life for a combat tank team in the waning days of WWII.

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.

The film explores the way propaganda is used to set the stage for a conflict, and considering this is a mainstream franchise aimed primarily at young audiences, it's actually a pretty interesting take on how image matters as much as action in a media age.

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.

This may not be his signature work, but it’s Murray at the top of his game in the type of role audiences want to see him in.

The film's central conflict and Sangaile's arc's are, unfortunately, thin.

Niccol is working in a very stripped down and direct mode, and I think overall, it works. Good Kill is unsettling, and the entire cast does spare, unsentimental work.

Where Banks truly excels is in directing the film's musical numbers.

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.

It's precisely as bonkers as it sounds, and at two hours, both wearisome and claustrophobic... But flashes of fury and beauty remain.