By this time in his life, Fischer (who was Jewish) was already into the anti-Semitic conspiracy theories that marred his public persona long after his days in the sports limelight had waned. While Zwick and company do nothing to explain this bizarre mania, Pawn Sacrifice definitely conjures the feeling of it, thanks in large part to the movie's greatest asset: Maguire's edgy, charismatic performance.

For all of its flaws, it's the first film since "Eastern Promises" that has added anything truly fresh to the old school street-level gangster story.

Larger than its predecessor, last year’s “The Maze Runner,” in every way: in its cast, scope, set pieces and (unfortunately) length. But “more” also means more convoluted.

A nearly great documentary about a national crisis, but its heart is a tragedy with a sickening ironic twist.

A better title would’ve likely been “121 Minutes in Purgatory,” since that’s essentially where audiences will find themselves residing during the entirety of this dreary slog down a familiar road paved with painfully good intentions.

Nothing nearly so wacky or grotesque goes down in this romantic thriller, but you’ll wish it would.

At times, Sicario is a deeply satisfying, intense examination of a war with no rules of engagement, driven by a spectacular performance by Benicio Del Toro and typically mesmerizing cinematography from Roger Deakins. At other times, especially in its middle act, Sicario can be frustratingly self-indulgent.

Of the many things that make A Brilliant Young Mind unsatisfying, arguably the most salient is that the assertion of its title defies dramatization. Nathan is brilliant? Well, if he were a footballer or a spelling-bee champ, we could see his skill as it evolved and played out.

It's a confident and scary film.

Headland defined the movie herself at the Utah festival during its world premiere, Sleeping with Other People is "'When Harry Met Sally' for assholes."

A charming, informative and funny documentary.

An intelligently staged and executed creepfest that takes one of the most universally compelling of notions — the unbreakable bond that exists between a mother and her children — and approaches it in such a formally and narratively bleak manner that it makes the works of fellow countryman Michael Haneke seeming almost benign by comparison.

A film so purely entertaining that you almost forget how scary it is. With all its terror, The Visit is an extremely funny film.

What this film may lack in terms of visual flamboyance, it more than makes up for in telling its simple and direct story with a raw, emotional power that doesn't need lavish spectacle in order to get its point across.

It's easy to make a documentary about hateful people. It's harder to focus on the impact of hateful people on those around them.

Time out of Mind seems to have been undertaken for no other reason than that the filmmakers and actors believed in the truth of the material. How many American movies can you say that about?

Wholly engaging from its first frame to its last, Rosenwald stands as an exemplary testament to the change that can occur when wealth, power and influence are utilized for the good of humanity.

A family-tennis drama with a plot that could be described as "conflict-lite." All problems are telegraphed from the get-go, giving the film's opening scenes that weird vibe where characters spout exposition at one another.

There are alliances and betrayals aplenty, but writer/director Daniel Lee seems more concerned with establishing and maintaining an epic look and feel than in providing cohesion to the narrative.

It is a well-intentioned film that buries its affectionate heart in disjointed, unnecessary, forced banter.

Bloodsucking Bastards doesn’t quite hit all of the marks it needed to in order to wholeheartedly recommend, but it is often surprisingly clever and funnier than most horror-comedies of the last two decades.

Beyond some effectively icky make-up effects, Contracted: Phase II sells nothing that viewers absolutely must buy.

Gibney made his film without the cooperation of Jobs’ wife and their children or Apple, and thus his account doesn’t have either the authorized angle or wealth of insider-ish detail of Walter Isaacson’s capacious biography.

In fact, very little here is special, despite the individual charms of Evans and co-star Alice Eve.

A decent idea for a low-budget movie that never gets past the idea stage, and after a brief while, you may start to question whether it should have been a movie at all, much less a 90-minute one.

To be honest, this storyline is not noticeably stupider in theory than any of the other "Transporter" films.

The film avoids hagiography, and in doing so, brings out the undeniable humanity of its subjects.

It may not be as brazenly offensive as “God’s Not Dead” or as spectacularly inept as “Kirk Cameron’s Saving Christmas,” but it’s still awful, offering all the forced humor and superficial substance of a half-baked homily.