There is much to think about in Far From the Tree, a worthy and at times tender film.

A consistently absorbing, often gripping, sometimes muddled whydidhedoit (because we already know whodunit), The Third Murder moves along Kore-eda’s customary careful, incisive pace, yet manages to be, for the most part, a riveting legal thriller.

It is never remotely serious, and yet for the most part it isn’t funny, either.

The movie is 105 minutes long but seems about 45 minutes longer, with uneventful stretches and at least three sections where the action stops for musical interludes featuring goopy pop music.

It’s charming and filled with wonderful performances, and has a nuanced story that will have adults walking out of the theater thinking about their own inner Pooh, and questioning why the hell they’re working so hard.

The film has its flaws, but after watching its catalog of shifty hedge fund types, Kardashians, plastic surgery addicts, bling-laden rappers and children of Hollywood royalty, you can’t help but agree.

This is a fascinating portrait of an artist.

Not only a portrait of a great artist, but a sensitive and engrossing depiction of the act of creation and its process.

Teen Titans never reaches that sweet spot where adult and kid humor align in a single gag.

Cruise and McQuarrie have made the best film in the franchise’s history and the most enjoyable and exciting action movie in several years.

It’s never easy to translate visually the inner turmoil of a struggling artist, and “Gauguin” is a prime example of that.

What starts out as a bottom-feeder noir a la “Breaking Bad” or “Hell or High Water” transitions into scattershot ambitions of being a mythic tragedy.

At the end of the day, it's all just a nihilistic trifle, yet before the final sign-off, we can't help but think twice about what else is lurking on the internet.

Even now, I can’t decide if it was horrible or if I liked it and must conclude that both things must be true. It really was horrible, and I liked it, anyway.

One of the year’s great films, and somehow you can tell from the opening moments.

Something about Don’t Worry, He Won’t Get Far on Foot keeps it from adding up to a satisfying movie experience. It has the feeling, rather, of a story you might hear about a friend of friend.

Too bad. The trappings of The Equalizer 2 are first-rate — the star, the director, the central character, the concept — and they make for a movie that’s watchable and intermittently pleasing. But not enough time was spent getting the substance right.

Graizer takes his time and never feels the need to spell everything out, and The Cakemaker is a testament to what filmmakers can achieve when they trust the audience.

One of the more thoughtful and valiant feature film directorial debuts in recent memory.

In watching Ava, a visually inviting and sharp portrait of teenage life in Iran, one must admire how writer-director Sadaf Foroughi was able to play her own tune in life.

Shock and Awe is no “All the President’s Men,” but it does present a nice balance to the earlier film’s ultimately rosy picture.

It may surprise you to hear that in the end there is a sliver of hope offered in Under the Tree, so thin that it’s almost not there. A less interesting movie might simply have served up a headlong plunge into the abyss — but Sigurdsson gives us a tiny flicker of light.

A film that defies lowered expectations — if not the tired adolescent mind-set and poor joke-writing — and emerges as the best in the series.

It’s slow getting off the ground, and never completely achieves flight, at least not in the sense of transport. It remains a series of sequences, some terrific and some less so, but at least the movie keeps finding new ways for people to fall off a building while on fire. So there’s that.

Robin Williams: Come Inside My Mind captures that special quality that Williams had, the extra quality that went beyond the laughs, that communicated his whole being.

As fresh as today’s newspaper — or a blog post — or a tweet from a minute ago. It’s a response to what is going on right now, and it feels like it, not only in content, but in form.

That Summer leaves me with Beale fatigue. It would seem to appeal to “Grey Gardens” completists only.

Three Identical Strangers tells a remarkable story. In fact, it tells several. It’s already extraordinary 20 minutes in, and then it goes to unexpected and yet more amazing places, like a narrative feature by a master storyteller.