Boyhood is more than a movie; it is a vibrant, living thing, and it is beautiful, and it is sad, and it is wise, and it is sprawling, and it is intimate, and it is painful, and it is more than any filmmaker could have intended, and, yes… when it comes to trying to capture truth in a way that cannot be argued or denied or even summarized… I am sure that nothing will ever be this good again.

Web Junkie is a little sad, a little funny and a little scary. I'd say that I wish it had been a little more provocative.

It's a dark and grimy film, and while I think it's juggling a whole lot of cliches, there is something genuinely admirable about the way it tells this story and the way it handles the supernatural onscreen.

Tammy is a mess, and it feels like a real misstep for this rising star.

"Dawn" is not just a good genre movie or a good summer movie. It's a great science-fiction film, full-stop, and one of the year's very best movies so far.

Earth To Echo is a little bit big and broad, but that's also part of its charm.

There are probably funnier satires out there, but They Came Together is laser accurate in the way it skewers its targets.

The action sequences in the film are spectacular, and there's one in particular that I think is an all-timer, both in the way it's imagined and in the way it's accomplished on film, but this isn't a film about empty sensation. It's a richly realized science-fiction world, and the cast is just tremendous.

Age Of Extinction more than delivers on whatever promises Bay makes to an audience at this point. Giant robots. Giant mayhem. Destruction on a global scale. You know what you're in for if you buy a ticket, and Bay seems determined to wear you down with the biggest craziest Transformers movie yet.

Eastwood is rarely a careless director, even when his handling on the material is this badly fumbled, but even his typically astute command of period and place feels off here.

[Eubank] creates some remarkable images and moments in this movie, and his sensibility leans towards a sort of painterly love of quiet and sustained imagery. He juggles some pretty big shifts in tone here, and doesn't always pull it off, but it's really interesting to watch him try.

Heli executes its shocks with sleek, gasp-inducing effectiveness, but neither its politics, nor its shifts in physical perspective, ever surprise or disorientate us.

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.

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.

John Carney, who wrote and directed "Once," has made another great film that focuses on songwriters and the way their lives influence their work.

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.

While I can see how there is a version of this film that might be able to successfully grapple with its central metaphor, I'm not sure Stromberg is the guy to make that movie.

A Million Ways To Die In The West certainly has merits, and in some ways, it is a step forward for MacFarlane, but it is also deeply undisciplined, and it undercuts its own best instincts in ways I find almost unbearably frustrating.

Force Majeure is an impressive and adult piece of work, bracing and intelligent.

There is a very quiet, natural quality to even the most dramatic of scenes.

A hilariously ham-handed attempt to dig beneath the Kelly mystique, only to find further foil-wrapped layers of mystique beneath. Well, maybe not mystique so much as a perfumed blankness.

Lost River is a beautifully dressed minor effort, a movie in which all the muscle in the world can't transform the thin, thin script into something more.

Poised between melodrama and chamber piece, then, Clouds of Sils Maria is either too silly or not silly enough.

Beyond being very smart and funny, it's also a great looking movie.

It is a ridiculous story, and these aren't human beings acting in a way that any of us would recognize.

Julianne Moore seems to be the one person in the film that truly gets the tone right, playing Havana like a person walking a tightrope over a yawning pit of psychosis, her every emotion bubbling up and threatening to knock her off.

Mr. Turner's passions and neuroses feel more peculiar to Leigh and his own work. It's tempting, even, to view the film as biopic-as-self-portrait, revealing shades of one life through another.

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.