This film doesn’t know exactly what it wants to say.

Almost too much to bear. But brace yourself and see it anyway. It’s worth it.

It’s a formula movie, which wouldn’t necessarily be a problem, except that it’s a sort of bad version of itself.

It’s long, downright dispiriting, enjoyable only sometimes, and yet there’s a feeling of authenticity. It’s neither bad nor good, but interesting. It might improve with age.

The only thing good to say for The Forest is that Dormer is interesting, that she creates a different vibe and essence for each sister, and that it would be nice to see her in a better movie.

To be sure, Censored Voices can hardly be seen as anything but a political document, one that shares Oz’s views.

Anomalisa may simply be a brilliant one-off, but it’s pointing a new direction for animation, if anyone cares to follow it.

I might be tempted to vote DiCaprio best actor — or at least to propose a new category be inaugurated, the acting equivalent of the Purple Heart.

The makers were clearly paying attention to the smaller details. But somehow, they missed all the big things that made the first Point Break a memorable escapist film of its time.

Needless to say, if “Inglourious Basterds” and “Django Unchained” were too much for you, The Hateful Eight won’t be any easier. This is a big step beyond.

Writer-director Peter Landesman has a fascinating and appalling story to tell here, and that cuts through the layers of corniness.

Joy never completely loses its way. But it almost does, and it never quite arrives.

The impressive film not only underscores the clash between traditional and modern values, but also provides inspiration for deciding your own fate, even when the world seemingly doesn’t give you a choice.

Going into Sisters, the thought is, “It’s Tina Fey and Amy Poehler. How bad can it be?” Going out, the thought is, “Now we know.” It can be downright awful.

Yes, the life expectancy of a chipmunk maxes out at 10 years in captivity. So biologically, we must be coming toward the end of this franchise. That’s not the type of thing a critic looks up when filmmakers make more of an effort.

The storytelling in The Force Awakens is masterful, in that it seems to be taking its time but is always moving relentlessly forward and coming up with surprises.

With In the Heart of the Sea, director Ron Howard has given us a painstakingly crafted bore, a lovingly rendered snooze, and a very expensive means by which audiences can experience restless leg syndrome before being carted off to the land of happy slumber.

It’s obvious that this is a well-intentioned, sensitive labor of love, and Hooper’s strategy of keeping it safe is bound to bring in folks who might otherwise avoid such material. For the rest of us, we must settle for a film that is solid but never quite soars.

Haynes elicits two great performances and provides the perfect frame for them, not just in terms of setting, but through smart casting and attention to the smallest of performances.

Simply the most relentlessly entertaining film of the last few months.

In the end, Chi-Raq is a positive movie that wants to jolt us into doing something about the very real emergency in Chicago. Along the way, the execution of the narrative gets muddled, but there’s no denying that this risk-taking film has a pulse. A strong pulse.

This is history of a personalized and meditative sort, and you ought to give it a chance.

As for the movie’s ultimate resolution, nothing specific can be said here, except that it borders on inexcusable.

The documentary “Amy” left viewers feeling a little shame, as if the audience and society was an accessory in Winehouse’s death. Janis: Little Girl Blue is a more clinical treatment, with more complicated messages.

Kurzel and three screenwriters have figured out a way to make Macbeth boring. Now that they proved it can be done, no one need ever do it again.

To take such a subject and render it without focus, interest, or joy—to make a long, dull movie from it — qualified as some perverse sort of achievement.

Rocky might not be the brightest guy, but he knows things. He has his limitations, but he is, in his own way, extraordinary, and when we look at his/Stallone’s face, we can have no doubt that Rocky has gone through life and learned things. He has been awake all these years, and growing. With no exaggeration, this is a beautiful and moving thing to see.

A bleak, tedious enterprise, shot in earth tones and Gothic gray and blue.