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.

Batman v Superman lacks the levity (forced or otherwise) of a typical Marvel Universe entry. But Snyder's superpowered epic does have a sense of import and grandeur about it.

The Confirmation is a powerful directorial debut from 59-year-old writer Bob Nelson, who received an Oscar nomination for his first screenplay, Nebraska.

While it hits some of the usual sci-fi tropes, Creative Control's center of gravity isn't tech itself, but the relationships of those who use it.

Resonant and surprisingly affecting.

A running joke about hipster clichés is tiresome, and the movie's plot threads are uneven. But watching Field work her magic is so delightful.

Director Robert Schwentke and his writing team do their best to move things along. Actually, who knows if it's their best? Maybe they're suffering from Divergent fatigue along with the rest of us.

The Bronze, for all its crudeness and lewdness (Melissa Raunch, anyone?) and wonky comedy, is actually a good old-fashioned tale of redemption.

Well-intentioned if cloying, Miracles from Heaven has an appealing cast and an accessible take on spirituality.

Wickedly clever nightmare entertainment.

Whiskey Tango Foxtrot isn't a great movie, but it is something rare and important: a woman's story of self-discovery - having nothing to do with her finding a husband - that has gotten room on the big screen.