Theron makes Libby a bristling, emotionally crippled live wire, her anger, guilt, and distrust bubbling to the surface with the slightest provocation. She's neither quite as fascinating nor nearly as despicable a character as "Gone Girl"'s Amazing Amy, but director Gilles Paquet-Brenner is no David Fincher.

Laverty gives the scenes between Jimmy and Father Sheridan a sharp edge, and Ward and Norton do the rest. Ryan shot on 35mm and makes the whole movie glow.

A tight little thriller that recalls the good old days of "Fatal Attraction" and "The Hand That Rocks the Cradle," back when suspicious packages appeared on the doorstep, no affair went unpunished, and the family dog was never safe.

Sorry. The sight of the 66-year-old Streep gyrating her way through "Wooly Bully" has a way of blocking out rational thought. It's frightening but temporary, like a bad dream. Or this movie.

This is the Fantastic Four. Maybe someday they'll get to act like it.

Shaun the Sheep Movie delivers exactly what it promises: The cutest, most innocuous entertainment this side of Internet panda videos.

Kyle Patrick Alvarez, whose previous movie was the filmed-in-Oregon "C.O.G.," stages the many torture scenes in a tight, claustrophobic way that works to heighten tension.

Allen's movies, even at their lowest, have usually boasted interesting musical scores, melding jazz, classical, and American standards. Irrational Man, though, uses The Ramsey Lewis Trio's "The 'In' Crowd," an already overexposed riff, so repetitively that I thought I was seeing the film with a temp soundtrack. The real Woody, whatever his flaws, would never have allowed this. I hope he comes back someday.

This 90-minute exploration of the myriad ways Lego is great suffers from a relentlessly annoying narrator and a punishingly peppy tone. Still, if you're an AFOL—that is, an Adult Fan of Lego — or even a KFOL — you can figure that one out, right?—there's plenty to make it worth your while. If you're not, don't bother.

Most impressively, "Rogue Nation" keeps the body count minimal.

Nothing really connects, not the bullying brothers, not the frustrated parents, not the sight gags familiar to anyone who's seen the giveaway trailer. The whole production has a cheap, tacky look that the talented leads, Helms and Applegate, can't save despite considerable charm and effort.

Moving and suspenseful.

In the end, as gay people and other marginalized groups throughout history have shown, the only real solution is to learn not to be agonized or ashamed over differences, but to celebrate them with pride.

Green is onto something with this paper towns metaphor, but it's nothing Rush didn't say better in "Subdivisions."

There are legitimate excuses for going to see Pixels. Losing a bet, perhaps. Having a loved one held for ransom. Maybe a serious blow to the head. But none of those (except maybe the last) would allow you watch and actually enjoy the latest cinematic leavings of Adam Sandler.

There will always be plenty of fictional geniuses solving impossible crimes, but Holmes, it turns out, it where the heart is.

What Ruffalo brings is a gravelly voice, soulful eyes, and absolute commitment. He's a little aw-shucksish in a Midwestern way but never corny and with a strong backbone. You like him and wouldn't want to cross him. Frank Capra would love Ruffalo. So would Hitchcock.

Oscar-winner Davis can maintain her dignity in just about anything, and she almost gives Lila enough depth to be a compelling character. Lopez gets points for trying something a bit more challenging than the hot-for-teacher dreck of "The Boy Next Door," but she inevitably struggles to hit more than one note.

Baker's previous films "Take Out" and "Starlet" have focused on populations generally treated with disdain by mainstream society -- illegal immigrants and porn performers, respectively. With Tangerine he continues to prove that by depicting these characters in all their flaws and majesty, movies can inspire awareness of our shared humanity. And make us laugh.

Trainwreck doesn't try to reinvent the wheel so much as rotate the tires of comedy.

Ant-Man wastes the regular-guy appeal of its star, Paul Rudd, on a bland, by-the-numbers story that starts small and keeps on shrinking, a metaphor for the movie itself. Its modest ambitions are admirable and unrealized.

A highlight of Sunshine Superman is archival footage of Boenish attaching a homemade ladder to the side of the cliff, extending it 20 feet out into nothing, climbing out and sitting on a bicycle seat, and facing back toward the cliff with a movie camera.

I'll See You in My Dreams takes its time getting to unexpected places and makes you glad to follow along.

Heaven Knows What is a hard movie to recommend because of its unrelenting intensity and hideously depressing subject. It's a hard movie, period, but it's exceptionally well-made and beautiful in its execution.

That this is a documentary, this family lived in New York for decades in almost complete separation from its neighbors, is astonishing.

This overwatered trifle is doomed to wilt and fade quickly from memory.

Writer-director Patrick Brice is interested only in his male characters; Alex and Kurt work out their issues while their wives serve as support or comic foils. The laughs stop about halfway through, and the 79-minute running time feels about right.

It's very meta and only mildly interesting. The actors are attractive, the countryside moreso. The plot is silly and threadbare; when tragedy does strike, it has about as much impact as a summer shower.