Quite simply, one of the best movies of the year so far.

That Robyn succeeds reaching her geographic destination is hardly a surprise. But this movie is not driven by plot but rather the delicate emotional ballet performed so expertly by Wasikowska.

A film of great sadness, but also a galvanizing depiction of heroism.

A potent and disturbing experience. Fortunately it’s much more, offering sharp performances and genuine drama.

In making the movie, writer-director John Ridley had to negotiate with the Hendrix legend — that is, reality had to accommodate audience expectation. In that sense, Jimi: All Is by My Side does a reasonable job.

Two Night Stand has its moments. But moments are all this movie has — and all its characters are likely to get.

The Equalizer is silly but irresistible, taking situations of inherent gut-level impact and exploiting them for every bit of emotion and tension. It could never have been a great movie.

In many ways a beautiful movie, and yet in other ways it’s not very good at all. As an achievement in stop-motion animation, it’s stunning — seamless and detailed, so perfectly done that it’s easy to forget that you’re witnessing skill and not magic.

Wetlands, an in-your-face story about bodily fluids and the collateral damage of a family gone wrong, is crass, vulgar and brilliant.

Think “Lord of the Flies,” without all the jerks.

Crazy plot aside, Tusk offers some thought-chewing ideas on human duality, both good/evil and man/beast.

Bateman comes off well, humanizing his character with a strain of melancholy that’s one of the movie’s genuinely touching elements. Fey is all right, though she falls back on her patented shtick. Driver makes the most of his hipsterish role, nicely playing off the other siblings’ tension.

For a good, straight-ahead noirish crime thriller, you could do a lot worse than A Walk Among the Tombstones.

Zero is more of an intellectual exercise in which you’re never given all the variables to solve the problem — and then you find your calculator was on acid the whole time anyway.

Hardy's performance takes a little bit of the sting away from seeing Gandolfini perform on a big screen for the last time. As irreplaceable as Gandolfini may be, it's invigorating to see a young actor elevating to similar heights right before your eyes.

Aside from Patricia Clarkson, who is practically this movie's reason for being, the great virtue of Last Weekend is that it's exactly as it presents itself.

The fine cinematography by Giles Nuttgens ("Hallam Foe," "Dom Hemingway") infuses warmth and texture. It conveys the laze of summer and juxtaposes the cold of the hospital with the not-quite-real palette of waking fantasy. However, also like the music, the filmmaking habitually meanders.

It's a strain to poke fun at Dolphin Tale 2. Even more than the very solid first film, this is cynicism-free cinema; a place where snark goes to die. But while the wholesomeness, PG-rating positivity and conservation goals remain a strong selling point, the story simply isn't as good as the first one.

Shore should have just stuck to his strengths, which is producing music. As a documentary, though, Take Me to the River falls woefully short on offering a serious contribution to the history of African American-inspired music.

The Skeleton Twins suffers from a glaring deficit. Suicide is ever present throughout the film, yet Johnson never seriously examines it.

My Old Lady is affecting, even if many of the revelations and high-voltage speeches occur at predictable moments. But if you can look past this formulaic side, it's a movie worth seeing.

The film is fine in depicting Ellis' times, but it's mostly how he came to realize that he had a serious problem and turned his life around to become a drug-abuse counselor. He died in 2008 at age 63.

This is a film that starts out promisingly and finishes with an effective epilogue. In between, there are some interesting bits - including a scene in which Errol Flynn tries to snag a big-time role in "Lolita." But outlandish as that moment might sound, it's not. Everything here, in fact, is just a tad too respectful.

Earnest and well-intentioned, The Identical is based on a "what if" that straddles the line between ingenious and loopy.

It's a nightmare fairy tale that can be very difficult to watch.

Unfortunately, A Letter to Mona, directed by Hiroyuki Okiura, embodies this sense of frozen time with a tedious narrative punctuated by occasional bursts of sentimentality and hard-to-penetrate humor.

As a stand-alone vehicle, the sensual and atmospheric Innocence is interesting enough to hold your attention to the end credits. But when you consider the source material, the film's flaws become too great to ignore.

See Love Is Strange for its sensitivity and understated jokes, but mainly for Lithgow and Molina's expertly modulated work, which pulls the movie back when it threatens to stray into melodrama or heavy-handedness.