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

It is a staggeringly bad film, made up of lots of faulty pieces.

The film is frantic from start to finish, and I suspect it will wear some people down completely. I thought there was a point where it stopped being funny and started being exhausting, but my kids went positively ballistic for it.

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.

No one who sees I Smile Back will question if Silverman was right for the role, they will simply question whether this was a story that needed to be told in the first place.

Using real transcripts, and with the involvement of Dr. Philip Zimbardo, who was the psychologist who designed the project in the first place, Talbott and director Kyle Patrick Alvarez have opted to aim for something authentic and honest.

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.

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.

Baumbach has cast a wonderfully talented group of up-and-coming actors around Gerwig and Kirke, but it's the screenplay and the leads' incredible chemistry that makes it all so entertaining. There are so many one-liners that you miss because the previous line of dialogue is just as smart and laugh-inducing.

It's a damn good movie.

Beyond the logistics of the screenplay, Beckwith makes some stylistic choices that hinder the story's cinematic opportunities.

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

While Longo's actions were horrifying and his connection to Finkel is unique, Goold somehow can't make this material as interesting as you'd expect it to be.

Z For Zachariah may not be a faithful adaptation of a well-liked book, but as a film, it is a lovely, powerful piece of work.

When Garbus lets Simone show us why she's special What Happened, Miss Simone? is successful and vital.

One thing Mississippi Grind has in spades is soul, and that's a better bet than narrative mechanics any day.

It's a fresh, beautiful and heartbreaking achievement that continues to surprise until the very last scene. It's dangerous to call something an instant classic, but sometimes it's simply the truth.

As a theatrical experience, I Am Michael is fairly forgettable, but it does manage to pierce in places, and it carries a cumulative charge that is bigger than any of the individual emotional pieces.

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.

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.

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

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.

Eggers manages to create a sense of mood and dread that is so suffocating at times that it feels like we're watching something genuinely transgressive, something we should not be seeing.

In the broad strokes, I think The Bronze is okay. I laughed at some things, I sat stone-faced during some things that don't work, and at the end, I could tell what I was supposed to feel, but it was more like I'm being ordered to feel this way instead of the film actually earning it.

I don't think Strange Magic is terrible movie, but it is a very weird one in many ways, and perhaps the most bizarre thing about it is realizing that we finally have a fairy tale written expressly for the age of date rape drugs.

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.

Blackhat is a staggering misfire by a whole bunch of talented people, terrible in a way that only a good filmmaker can accomplish, and it kicks off 2015 by setting the bar very, very low. Things can only get better from here.

Taken 3 is formula filmmaking at its most formulaic, a film that exists only because it makes sense financially.