instead of focusing on the comedian’s complexities, Come Into My Mind focuses on his heartbreak. Perhaps Zenovich wanted to offer closure to fans still shocked by Williams’ final choice. But any artist is far more than their struggles. A proper remembrance would have understood that.

Psychologically thin, artistically flabby, and symbolically opaque.

An autopsy for The Town would list multiple causes of death.

Mining the incest prohibition for laughs in what's essentially a light romantic comedy is a bold move, and for the first two-thirds of the movie, it works surprisingly well. But as long as the Duplasses are willing to go there, I can't help but wish they'd gone a little further.

Sully can feel like a dutiful, hagiographic slog, even though its actual running time barely tops 90 minutes and both Hanks and Eckhart give warm, understated, funny performances in the only two roles developed enough to qualify as real characters.

A movie I snickered at more than once but never stopped staring at in wonder. This isn’t Nolan’s best film by any stretch, but it abounds in the qualities that are among his strengths.

Happy People's images of the Taiga, while often breathtaking, come from the standard visual language of nature documentary: in between interviews with villagers, cutaways to icicles hanging from branches or dawn breaking over an expanse of snow. It's Herzog's inventive use of voice-over that elevates the film above an extremely well-researched episode of "Nature."

There's too much miserable reality and not a lot of transcendent dance, and the director, Stephen Daldry, doesn't cover the action from enough angles.

Emotionally layered, culturally specific, and frequently hilarious, Crazy Rich is a transportive delight, with food montages to die for (the film offers a splendid showcase of Singapore’s justly celebrated street-food scene) and a wedding processional so exquisite I started crying at its sheer beauty.

This is one of those roles where casting can't help but trump acting. Like Elizabeth Taylor as Cleopatra, Angelina Jolie IS Mariane Pearl--and that marquee-size "is" gets in the way, not of her performance, but of our ability to suspend disbelief and watch it.

As a non-South African, I can't speak to the accuracy of the movie's racial politics, but they feel insultingly vague.

Especially when Baymax is onscreen doing his adorable-puffy-robot thing, Big Hero 6 qualifies as a better-than-average kids’ movie with enough cross-generational appeal to make it a fine choice for a family weekend matinee. But I couldn’t shake the feeling that this film was designed to function as a starter kit for future Marvel aficionados.

The Italian is an aesthetic gem, but a moral muddle.

Highest 2 Lowest moves with a swagger and self-confidence that perhaps oversells what the script actually has to offer, but it’s hard to resist the draw of seeing Lee and Washington collaborate for the first time since Inside Man in 2006.

I loved it. Or, to put it another way, I loved it, I loved it, I loved it. I loved every gorgeous sick disgusting ravishing overbaked blood-spurting artificial frame of it.

The band's implosion and reassembly makes for one of the most marvelous rock documentaries of all time.

Source Code has a resonance that too many contemporary thrillers lack. Gyllenhaal invests Stevens with the simmering anger and grinning charm familiar to the genre, but also with a real sense of vulnerability.

Sure, Música stomps its way into some cheesy pitfalls, but it’s also an unusually refreshing rom-com.

Thor: Ragnarok is a much goofier film than its 2011 and 2013 predecessors, and also a better one.

There’s a particular thrill when all of a film’s many story elements — here, so dense with symbolism — come together with such thematic and emotional vigor. That intensity pairs exquisitely with the tenderness the film never wants to lose sight of.

This isn't just the most riotously inventive movie of the year, it's the raunch anthem of the age.

This is finally the zombie flick as cautionary political tale, and as humanist parable. It's not the flesh-gouging zombie we have to worry about, the filmmakers suggest, but the soul-gouging zombie within.

It's hard not to feel that Penn is stacking the deck heavily in his favor and losing out on the chance for a more sober meditation on the ambiguity of McCandless' quest.

Rumble: The Indians Who Rocked the World, directed by Catherine Bainbridge and Alfonso Maiorana, tackles a long, illustrious, and sorely undertold story, and as such offers some much-needed shading to a history that’s still too often framed in stark polarities of black and white.

Rust and Bone is a movie about letting go of shame and making way for the advent of pleasure. Let that be your guide to watching it as well.

Ultimately, Inland Empire left me angry at David Lynch, but it was the kind of intimate anger you feel when disappointed by someone you love. If you can tolerate its lack of narrative cohesion, Lynch's film will continue to reward you with visual and auditory surprises right up till the end.

Like the singer's gnomic comments to the press, the movie can be maddeningly slippery; like his music, it's fierce, thrilling, and unapologetically itself.

The film is marvelous fun on its own terms -- I laughed all the way through it.