There are an obscene number of funny people in this movie — though Mascots is not as obscenely funny as that Murderers’ Row of comedy talent would suggest.

It’s a film that slowly sneaks up on you, imbued with such quiet emotions that you don’t feel its full weight and beauty until it ends.

Snowden has some entertaining sequences, many of which explain the whistleblower’s story in an easily digestible narrative that doesn’t insult the audience’s intelligence or think too highly of itself. But the final moments are a mess; Stone isn’t interested in showing us the real version of the man, only his glorified version.

Pure and simple, Catfight is a total blast.

This is the sort of film that is more frustrating than bad. Vigalondo had something really special here. He just didn’t quite pull it off.

Instead of observing its historical subject from behind a glass case, Jackie offers a piercing portrait of a woman’s psychological and emotional journey.

With infectious enthusiasm, charismatic leads, gorgeous songs, vibrant colors, and dazzling camerawork, La La Land restores the original movie musical to its former glory.

Blair Witch does deliver the requisite shocks demanded of a horror movie for a multiplex audience, but maybe it’s time for filmmakers to stay out of these woods for a while — at least until there’s a new technology for the Blair Witch to mess with.

If (Re)Assignment played more like a spoof of vintage pulp and less like a tacky rehash of it, that choice could have worked. Instead, it just comes off as clueless — about gender as well as filmmaking.

The Girl With All the Gifts is full of surprises. It keeps shifting before our eyes, from atmospheric horror to intense survival thriller to thoughtful contemplation of humanity’s place in our planet’s food chain.

It’s a film that aches with beauty. It cries with longing. It quakes with a rich sadness that lingers with you long after the final moments. A masterpiece of poetic filmmaking, Moonlight is one of the most powerful films of the year.

There’s a decent amount of craft on display, along with a filmmaker of genuine chutzpah. Throw just a little restraint into the mix, and you might really have something.

Nocturnal Animals doesn’t have much substance, but its dazzling style is hard to completely resist.

Arrival is a smart film, but it’s not a cold or clinical one. Both the first and last scene brought me to the verge of tears.

The group...make a fine crew. But the rest of the movie doesn’t find enough interesting wrinkles on the old formula to merit a reboot.

Whatever Demon’s autobiographical elements, this film feels incredibly personal; like a howl of pain ripped straight out of someone’s soul.

The film isn’t about catastrophe; it’s about the beauty of what happens when everyone works together to solve a problem.

The film will be remembered for its performances, but it should also be remembered for its messy, realistic examination of the complicated decisions we’re faced with in life.

Unafraid to expose her character's weaknesses and degradation, White Girl establishes Wood as a brazen new talent to watch.

At its heart, Florence Foster Jenkins is about a woman at her most unabashedly genuine, and there’s something admirable about that.

Morris From America is a sweet movie, but it doesn’t take us anywhere new. Its sincerity is admirable, but if Hartigan had dug a little deeper he could’ve captured something distinct and special.

Southside With You’s greatest assets are its performances.

Alvarez has crafted an intense, relentless and confident thriller that only occasionally fails.

Displaying the mastery of visuals and storytelling of a more established veteran, Laika president Travis Knight has gone beyond merely crafting a confident directorial debut; he’s made the studio’s best film to date.

Superficially, the movie looks a lot like past Phillips comedies about men behaving badly, with dirty jokes and wacky hijinks galore. But War Dogs is more critical of its protagonists’ behavior, and there’s plenty of sad commentary about the state of modern America.

The surprise standout is Chris Pine. Maybe because he possesses unfairly good looks and outrageous charisma, Pine hasn’t received much recognition as an actor. He is outstanding in Hell or High Water.

It’s raunchy, rowdy and almost completely insane. Unfortunately, it’s just not very funny.

From the first scene to the last, it’s an absolute mess.