Seemingly loose and free-associative in style, Experimenter builds to an effect and, for all its humor — or rather, through its humor — makes a sober and chilling point.

Obviously, no one should wish all films were shot like this. But the approach suits this story and these characters, and that’s all it had to do.

The world here is so ugly that only beautiful tracking shots, rich close-ups and adroit handheld work could make it bearable.

Bridge of Spies tells us that the Constitution is not some quaint national luxury but the road map out of the darkness.

Although the film’s content falls squarely within the PG rating, it provides about 20 percent more visual terror than you’re probably expecting. Plus, the presence of a scary clown should automatically trigger a special MPAA rating. (PG-C?) Take your 5-year-old knowing that he may be visiting your bed every night between now and Halloween.

To be sure, Steve Jobs has its own integrity as the story of the young innovator, but it’s a little like making a movie about Thomas Edison and stopping somewhere between the phonograph and the lightbulb.

For the most part, though, Drunk Stoned Brilliant Dead spends its time celebrating an era in which the comedy frontier was distasteful, brutally honest, and innocent at the same time.

Frehling is excellent as a rigid do-gooder who thinks he understands everything and then comes up against crimes that shake his sense of the universe. His fresh fierceness is nicely balanced by Voss, who says little but radiates wisdom.

He Named Me Malala gets good marks as a laudatory piece about a genuinely valiant young woman, but it could use a modest dose of objectivity.

Freeheld is formulaic, but some formulas are good if you do them right, and it helps knowing that it all really happened, or most of it.

A complete washout, a joyless, pointless and fundamentally idiotic enterprise.

After two hours of The Walk, I felt as if I’d walked the wire myself. I was agitated and exhausted. During the movie, I was squirming and wincing, and a few times even had to close my eyes, just to find some relief.

The new Ridley Scott movie is fascinating and charming and crammed and overstuffed, and it’s a curious case, too. It gets all the seemingly hard things wonderfully right, but then caves in at points that should have been easy.

If at any point in Sicario, you feel lost, don’t worry about it. The movie is all about being lost and, in any case, all becomes clear, eventually.

After nearly two hours of A Pigeon Sat on a Branch Reflecting on Existence, anyone who entered the theater on a Wednesday might wish for it to be Thursday, too.

The blood-soaked “Inferno” practically ends up a promotional snuff film for deforestation.

A clever hybrid of documentary and romantic comedy.

Belongs in a less ambitious category of sequels, alongside the creatively lacking “Alvin and the Chipmunks” and “Ice Age” movies.

The success of this film may ride entirely on the alchemy of these particular actors, but whatever is carrying it, The Intern gets there.

East Side Sushi is an engaging film that fits neatly into that category of foodie films and dreams.

There’s lots of eye candy, and the pace is fast, but somehow the movie falls short. You’re forgiven if you get the idea that “Scorch Trials” suffers from “middle movie” fatigue.

A gripping study of Bobby Fischer, perhaps the greatest chess player ever.

Jake finally looks like a catch, of all things, and you can hear half the audience whispering that they’ll have what Lainey’s having.

This is a movie in search of a finale.

I’m not sure if there’s room in the new Chinese film world, which like American cinemas is now dominated by big-budget special effects films, for another series of Gong-Zhang films. But they should forge ahead. They’ve recaptured the magic.

The feature film Everest provides soaring visuals, but it’s a distant second in terms of storytelling depth and narrative impact.

A solid piece of filmmaking, from subtle beginning to the excessive end.

Shyamalan doesn’t reach “The Sixth Sense” or “Unbreakable” heights, but his scriptwriting is livelier than we’ve seen in years, and there’s a sense of humor that was missing in even his best work. At times, he seems to be poking good-natured fun at his own reputation.