One of the most suspenseful, terrifying, and devilishly original horror pics in recent memory.

An elegant survey of the origins of the information revolution and a shrewd analysis of how the internet has reshaped the world. It's one of the director's best docs.

Moving within its wild and wacky and improbably true scenarios (some of them, anyway) are people you don't really want to know. Stop the presses: War makes people rich. Stop the movie: These people, who cares?

If you want to expose your children to a work of art with real soul, you could do a lot worse than Kubo and the Two Strings.

The new Ben-Hur isn't much of an improvement. Dominated by CGI effects, it's a soap opera better fit for basic cable.

And Bridges? What's there to say about a man who makes it look so easy, and who - in one breathless, pivotal scene - runs through a range of emotion like a wild pony running across the land. Genius, any way you look at it.

An intensely intelligent, well-written, and mature exploration of the unwritten rules women have to follow if they want to succeed in high finance.

Directed with tremendous style and vibrant, buoyant energy.

A violent, sexy, crazy actioner about supermarket products that rebel against their human consumers, Sausage Party is one of the funniest and most deeply offensive movies of the year (it's obscenely funny), which lambastes America's most sacred of sacred cows: religion.

An extremely delicate, quiet, and stunningly understated chamber piece.

An immensely enjoyable, warmhearted, and gentle showbiz dramedy.

Suicide Squad does have quite a few tremendously entertaining sequences of high action and low comedy. It's a shame it never rises beyond that.

Our Little Sister zooms in close, observing everyday rituals, the commonplace that suddenly turns significant.

Kunis, rebounding from the disastrous Jupiter Ascending (an unintentional comedy if ever there was one), demonstrates an easygoing comic flair.

Phantom Boy will appeal to children who have the patience and imagination to immerse themselves in the film's wiggly animation.

The tradecraft is there, the film craft is there, but the craftiness of a great concept is gone. Any way Bourne can go through Treadstone again?

Nerve gives moviegoers everything they'd want from a teen romance. It's a little less successful as a critique of life in the age of Instagram.

A well-shot, gore-free psychological thriller about our elemental fear of darkness, Lights Out has a good deal in common with "The Babadook." While it can't touch Jennifer Kent's masterpiece, it does mark the arrival of a major new talent.

Four film sequels and 14 years later, the best I can say of Ice Age: Collision Course is that it has nice coloring and good picture contrast.

Breaking a Monster is a revealing window into the industry. But it lacks a certain human component.

There is plenty in Star Trek Beyond for diehard Trekkers to enjoy, and director Justin Lin (Fast & Furious) guns the action sequences.

It seems another member of Clint Eastwood's brood is ready for stardom. Francesca Eastwood, 22, his daughter with actor Frances Fisher, is one of the bright lights in writer-director JT Mollner's otherwise uneven feature debut.

A cross between François Truffaut's sometimes-harrowing dramas about childhood and a Steven Spielberg fantasy, Gondry's film abounds with sentiment - without falling prey to sentimentality.

As solid as Cranston, Leguizamo, Kruger, Bratt, and all the rest are, the built-in constraints of the movie format don't do their real-life counterparts full justice.

McCarthy, Wiig, McKinnon, and Jones bring a spirit of spontaneity to their interactions; it's not exactly seat-of-the-pants improv, but it doesn't feel blocked-out and belabored, either.

Schütte's film, which began with the cooperation of Zappa's late wife Gail and has the blessing of Ahmet and his sisters, Moon and Diva (but not Dweezil), lets him speak for himself.

It wants to be "Wedding Crashers," but it's not nearly as memorable, smart, or sweet.

In much the same way that the smash "Zootopia" demonstrated that creatures of different culture and class and species are better off when they come together, The Secret Life of Pets is a testament to teamwork and friendship and fixing the rifts that divide us. Let the fur - and the warm, fuzzy feelings - fly.

Wiener-Dog has a satirical edge as sharp as any Solondz has fashioned, but it is also filled with disarming moments of absurdist humor.

Swiss Army Man is a quest movie of sorts, and also a sort of modern-day piece of absurdist theater. Samuel Beckett by way of Monty Python, it is a story that is at once rooted in the fixations of adolescence (sex, the idea of sex, bodily functions, more sex) and in the loftier firmaments of the mind.

Our Kind of Traitor strains credulity: The world it attempts to depict - international organized crime - is too large, too unmanageable and too easily caricatured.

It's fun, exciting, freakish filmmaking.

The photography is lush, the dialogue uproarious, and the crazy action sequences unforgettable.

The Purge: Election Year tries to show that what counts isn't firepower but compassion, not egoism but community. But frankly, it can't help but shoot itself in the foot: The violence is too tantalizing, too stylized, too fetishistic - the film features killers dressed in fanciful Halloween costumes who dance and sing as they dismember people.

The set pieces are fun, if not as spectacular as those in Jon Favreau's adaptation of Kipling's similar "The Jungle Book." And the plot moves at a nice pace.

And tell me if I'm nuts, but another distraction: Doesn't the BFG bear a striking resemblance to George W. Bush?

A stylish, painterly picture that evokes classic horror films from the 1930s.

Like its lead Royalty Hightower, whose performance is just as spectacular as her name, The Fits is impossible to look away from. It's gorgeous, poetic, and opaque, and I've never seen any other movie like it.

Mixing elements from documentaries, biopics, war flicks, and Hallmark romances, Ross' film is a living history tour, but with gory special effects and a smoldering smattering of sex appeal.

Portrayed by a mesmerizing Elle Fanning (Maleficent, Trumbo) in a magnificent, heart-stopping star turn.

While the plot is dumb and the script is worse, watching aliens explode in spectacular fashion isn't the worst excuse to spend to two hours in air-conditioning.

It's great to hear a director talking candidly about the actors he's worked with, dishing out good, juicy stuff.

Well-written, gorgeously shot, and expertly edited, the film is also an exasperating exercise in good intentions gone wrong. For all its strengths, Genius often trades in tiresome clichés.

Central Intelligence is actually funny.

Much of Finding Dory is funny, and fun. But there's something kind of haunting about our heroine's memory thing. If you forget where you are, and who you are, and why you are - isn't that called Losing Dory?

A complicated, multi-segmented narrative that's much longer, more elaborate, more dramatic, and more packed with chilling moments and hair-raising visuals than one could anticipate, even from Wan.

Just because you can come up with names such as Azeroth, Durotan, Orgrim, and Grommash Hellscream doesn't mean you're J.R.R. Tolkien, people.

It's the magic of movies, not a movie that comes close to achieving real magic.

A subpar 3D action comedy featuring four giant motion-capture animated turtles and a raft of human costars, including the dreamy-eyed Fox, wide-shouldered Perry, a remarkably slender Will Arnett, and Laura Linney, who looks tired and uncomfortable throughout the proceedings.

Popstar gets to satirize not just music, but also celebrity culture in a way that a movie such as Spinal Tap never could - because, well, the internet and 24-hours news cycle didn't exist in 1984.

Shameless in every way imaginable, Me Before You milks the pathos for all it's worth, but milks the comedy, too.

The final third of Audiard's drama falls into crime-drama mode. It is tense and violent. But even if it feels true, given Dheepan's history with the Tamil Tigers, it also feels a little beside the point.

Americans seem uncommonly uncomfortable discussing our own class struggles. But, boy, do we love to watch the Brits do it. I think that's one reason the inspiring and joyful Dark Horse is such an appealing film.

While its rather formulaic second half relies on clichés about underdogs' triumphing against the odds, The Idol opens with a terrific look at Assaf's childhood that has the feel of "Stand By Me."

A dull, formulaic theme-park ride whose only purpose is to make more pots of money.

This ninth installment in the Marvel mutant superhero franchise is rife with urgent and (dare we say?) apocalyptic comings and goings, with characters and confrontations that seem at once familiar and befuddling.

The Lobster is what would happen if Wes Anderson set about doing Franz Kafka, with a hefty dash of George Orwell thrown into the mix: surreal, comic, sad, strange, beautiful, sublime.

Like Shane Black's directing debut, "Kiss Kiss Bang Bang" with Robert Downey, Jr., his The Nice Guys borrows from noir traditions and pulp fiction, throwing a fresh coat of smart-alecky comedy over the whole thing.

One of the things that distinguishes Love & Friendship from the multitude of Austen adaptations - the worthy and the less so - is its heroine. Lady Susan Vernon, a widow of devilish charms, is as frank and fearless a character as Austen ever imagined.

Rogen and Efron's characters find a novel new use for automobile airbags, too. These guys are geniuses.

Don't get me wrong. Angry Birds doesn't depict any on-camera violence against person, bird, or pig. But there's a darkness at the heart of this movie that's hard to reconcile.

Guadagnino, who directed Swinton in the 2009 Italian gem "I Am Love," has kept the core premise - and the sensuality - of Jacques Deray's original. (Delon and Schneider go skinny-dipping, too.)

High-Rise feels like a throwback to a time when this kind of social commentary, in literature and film, seemed shocking and true. Not sure whether it's progress to say that in 2016, High-Rise doesn't shock at all.

Smart and gripping - at least until the third act.

Its historical influence aside, Dragon Inn delivers pure cinematic pleasure. I'm not sure it can be overpraised.

Francofonia is a brilliant meditation on art, on war - and what happens to art when nations go to war.

With Sarandon in the title role, Scafaria has a winner: The actress tackles Marnie headlong, with heart and soul, trolling the fancy outdoor shopping mall for products to buy and for people to intercept and hang on to.

It touches on serious - and ridiculously complex - ideas but always cuts them down to manageable, middle-brow morsels.

With every new installment of the comic book franchise, the scale gets bigger, relationships get trickier, new forces enter the fray.

Sitting in the theater, watching Knight of Cups, you hear an incredible amount of thought-balloon babble, but you don't hear anything approaching the sublime.

Maybe the best reason to see Papa: Hemingway in Cuba is to catch a glimpse of the real Finca Vigia, the property, with its house and pool, gardens, and tree-lined drive, where Ernest Hemingway lived and wrote - and famously drank - from 1939 until 1960. Pages of For Whom the Bell Tolls were banged out here; so, too, The Old Man and the Sea.

Keanu doesn't go far enough. Key & Peele was searing and incisive about race and American culture, and Keanu doesn't even scratch the surface.

Green Room is just as accomplished a film, with the writer/director doing everything right: the cast, the music, the editing, the way he leads you one way and then clobbers you (and some of his ill-fated characters) when you (and they) are least expecting it.

A piece of schlock from Garry Marshall.

The film is a ponderous, overwrought meditation on grief, loss, guilt, and memory that prods and probes its characters more like lab rats than living, breathing creations.

Now that Nina has finally arrived in theaters, revealing itself to be a listless, oddly constructed tale that does a poor job of capturing Simone's star quality or indomitable racial pride, it makes you wonder: Was it really worth kicking up all that controversy for a movie that's this bad?

Iglesia's riotous film is crammed with comedic chaos.

All the elements of Eggers' story are there; the emotional and psychological resonance is not.

It's pretty much impossible not to love Sing Street's young hero as he stumbles around Dublin, dumbstruck and smitten, at turns clueless and confident.

Theron proves the master of operatic hissy fits, Blunt lets the pain show beneath the glacial cool, Chastain brings her usual Juilliard-schooled commitment to the occasion, and Hemsworth is Hemsworthian, if oft-times incomprehensible, delivering his lines in a gorse-y whorl of vowels and consonants.

Blending facts, anecdotes, and no little conjecture, Elvis & Nixon finally finds the two American icons face to face, sharing M&M's and Dr Peppers.

Miles Ahead is more a provocative character sketch than a meaty portrait, but it's a film that should be applauded for its daring, and for Cheadle's shape-shifting, soul-baring work.

Criminal, with its criminally lazy title, is mostly Costner's to growl and scowl his way through.

It's the living jungle of Kipling's stories that we could once see only in our minds.

The weight of the picture's moral and political message rests on Ice Cube's Calvin. A decent, honest man with a well-developed sense of responsibility and a passion for social justice, he's an iconic American type - the reluctant hero. He'd rather tend to his own garden, but when called to duty, he's all in.

The animated French family film April and the Extraordinary World will have your imagination doing somersaults and cartwheels.

It's not great, either, but it is better than mediocre.

Never again let it be said that an action movie is just like a video game. Hardcore Henry, a frenetic, dizzying, and ultraviolent actioner from Russian rocker-turned-director Ilya Naishuller is one - a first-person shooter writ large for the big screen.

Linklater, drawing from his own experiences as a baseball player at Sam Houston State University, looks back with affection, a knowing wink, and maybe the beginnings of an apologetic shrug at the jerk behavior, the locker-room pranks. These guys smell freedom in the air - and maybe some pot smoke, too.

The movie pivots from what I expected it to be: a family drama about an outsider, as the opening conversation suggests. Instead, it becomes an eerie mood piece about secrets buried deep in a family's fabric.

The feeblest kind of costume drama, where the costumes have more impact than the drama and where the period details serve only as distraction, reminding audiences that things looked different back then and not much else.

Wonderfully evocative, funny, sad, complex, and essential passages from a man's childhood and adolescence.

How the film plays out, and what happens to the boy and the adults in his company, may prove a revelation, or a disappointment, or something in between. But getting there is thrilling and wondrously strange.

Disarming, alarming, and more than a little impressive, Shults' movie was shot in his mother's Texas home, and the thing plays like a cross between Eugene O'Neill and a slasher pic. (It's cut like one; the soundtrack makes you feel jumpy like one.)

Mirren is icy and fierce. Rickman brings both levity and sorrow to his role as a soldier who has seen war from both sides: the conference room and battlefield.

It's a documentary that is ostensibly a profile of a man, but is really about the vibrant city he inhabits, beyond the Hollywood sheen and the grit of Compton.

Giannoli's riotously funny and heartbreaking film follows Marguerite's attempt to stage a solo recital in a grand theater in Paris.

Predictable, tired, formulaic, it makes up for its lack of originality with a bigger budget, louder jokes, louder costumes, and louder music.