Entertaining in a way that’s practically unheard of these days. It’s about the sheer exhilaration of expressing yourself, no matter what anybody thinks.

Working from a screenplay by Susan Coyne, director Bharat Nalluri maintains a pace that brings to mind a wagon loaded down with too many Christmas trees. Though the movie has a great look, it’s short on storytelling magic.

It’s an interesting showcase for Carell, who turns in an uncharacteristically low-key but heartfelt performance. Cranston is more than a bit over the top, but Fishburne balances him out.

The colorful visuals are matched with lively music, especially de la Cruz’s signature song, “Remember Me.”

An intense, provocative drama about religion and its impact on those who embrace it as essential to their lives.

Lady Bird might finally be the role that earns Ronan (“Brooklyn”) an Oscar. As a young woman at odds with the world, and herself, she illuminates the film. Also worthy of Academy attention is Metcalf, who is sheer perfection as the quintessential stressed-out mom.

This is a generic, uninspired and mind-bogglingly boring comic-book movie that’s out to steal your money and time.

An emotionally involving drama that deftly sidesteps mawkishness.

Based on a book by Brian Selznick, Wonderstruck is a visually striking film that’s uncompromising in its approach — less about narrative momentum than about surrendering to the power of images.

This is the feel-bad film of the year. Recommend it to someone you hate.

Although Branagh delivers a film that’s reasonably watchable, the not-so-mysterious truth is that Murder on the Orient Express didn’t need to be remade.

One of the silliest and least substantial of recent comic-book movies — a jokey, unapologetically nonsensical romp that makes “The Avengers” look like “The Godfather.”

Suburbicon is a flawed attempt at dark comedy, but it’s hardly the disaster that critical buzz would have you believe.

Teller turns in one of his best performances as the contemplative Adam, who’s haunted by the choices he made on the battlefield. And Koale brings a poignant vulnerability to Solo.

Delivers a story that feels more like a footnote to history than a neglected chapter. But the cast is first-rate, notably Neeson in the title role. “Mark Felt” benefits mightily from his very particular set of acting skills.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

One of the freshest and most entertaining films of the year.

Viewers who don’t want to visit Ponyville should just skip to the next town.

Winslet deftly balances spunkiness and vulnerability, and Elba (still fondly remembered as a surprisingly erudite criminal on HBO’s “The Wire”) exudes brooding masculinity.

Director Denis Villeneuve (“Arrival”) delivers a moody, visually stunning celebration of existential angst. Not that he skimps on the kind of mayhem that’s de rigueur these days, but you have to wait for it — and wait for it. But when it does arrive, it’s awesome.

Liman and Cruise previously worked together on the brilliant but overlooked science-fiction flick “Edge of Tomorrow.” Their latest collaboration, which boasts one of Cruise’s best and most charismatic performances, deserves to be a hit.

The fact-based Stronger is an inspiring tale of reconciliation and reinvention that sidesteps sentimentality to get to emotional truth.

This is the rare mainstream film that addresses the complexities of real life. Brad’s Status may motivate you to question your own.

This is a movie that Holden would have skipped.

Naysayers will no doubt argue that mother! is an incomprehensible mess. But as sheer visceral filmmaking, it’s a must-see. If you’re looking for meaning, read a book.

If you’re looking for a film that’s guaranteed to have you gripping your seat, this is It.

Based on a true story, Crown Heights is a predictable but moving story of friendship and perseverance. Writer-director Matt Ruskin elicits strong performances that go a long way toward compensating for the film’s often languid pace.

Webb delivers a film that’s somewhat derivative, but succeeds as a welcome alternative to superhero extravaganzas.

Good Time is not so much a crime drama as it is a meditation on the genre’s virtues and limitations.

Tatum is terrific as a sort of anti-Clooney, and Driver complements him perfectly.

Friedel turns in a poignant performance as a man who feels that he has no choice but to act on his principles, regardless of the consequences.

A well-crafted drama about the comforts and insecurities of family life.

The film is hard to watch, but its timeliness is impossible to ignore. Still, a case could be made that Bigelow dwells on the violence a bit too obsessively.

Director Matthew Heineman (“Cartel Land”) sticks with the group as it moves from strategy meetings to safe houses, documenting not only its political commitment but also intimate moments of reflection.

A rebuke to the genteel period costume dramas that have long reigned as arthouse staples. Working from a screenplay by Alice Birch, director William Oldroyd turns the genre on its head, penetrating the pretty exteriors that conceal wild and dangerous emotions.

A stylish but empty spy flick, redeemed only by well-executed action sequences.

Working from his own screenplay, director David Lowery (“Ain’t Them Bodies Saints”) delivers a risky, challenging film that unfolds with a spellbinding momentum. Just what it all means is left to the viewer to contemplate.

Seldom has a film so eloquently captured the craziness, brutality and arbitrariness of war. Dunkirk just might be Nolan’s masterpiece.

Valerian has some cool visuals. But there’s more to science fiction than pretty pictures.

Maudie is a work of art.

The Big Sick has a lot of charm. Just don’t expect the revolution in romantic comedy that its aggressive hype would suggest.

The biography Chaplin, directed by Richard Attenborough, may not qualify as a completely successful film, but there are enough good moments about the great entertainer to make it worth watching. [12 Jan 1993, p.4D]

Everything you would want in a summer action-suspense movie - and just a little bit more. The movie delivers enough thrills to satisfy all but the most hard-core adrenaline addicts. And several touches, especially the lead performance of Harrison Ford, elevate this film above the standard summer suspense offerings.[9 June 1992, p.4D]

Hot Shots! is packed with enough sight gags and slapstick to keep an audience grinning even when some of the jokes fall flat. This isn't as funny as "Airplane!" but it's not a bad try...Hot Shots! isn't the sort of movie that will set you thinking, but for mindless, summer entertainment it fills the bill nicely. [6 Aug 1991, p.4D]

For sheer waste of talent, if not money, The Burbs deserves to be ranked with Ishtar. A routine slapstick comedy with no cutting edge, and not nearly enough laughs. [21 Feb 1989, p.6D]

Perhaps the only reason to see it is Elliott, who’s terrific as a man who’s desperate to make amends for his shortcomings. It’s one of his finest and most memorable performances. Unfortunately, the script fails to rise to the level of Elliott’s artistry.

Sometimes the zaniness borders on stupidity, but more often it hits the jovial farce mark, which is largely because of writer Andrew Bergman's clever screenplay, Michael Hoffman's tight direction and a generally first-rate ensemble cast. [31 May 1991, p.3F]

Baby Driver zooms onto the screen with an exhilarating combination of smarts and style.

Deftly balances subtle humor with sharp observations about class, wealth and power.

This is Bay’s world, and when faced with the end of the world, there’s only one message to be gleaned from this supposed finale of the “Transformers” franchise: The Mack trucks and the muscle cars will outlive us all.

As a performer, Lister-Jones acquits herself well on both the comedic and melodramatic fronts. And the scruffily charming Pally comes across as a hybrid of Seth Rogen and Paul Rudd. But Armisen’s weirdo shtick is way past its sell-by date.

Mara, perhaps best known for her stint on the Netflix series “House of Cards,” isn’t entirely persuasive as a Marine. But she’s appealing as a young woman who takes control of her life with a little help from an unlikely companion. If you have a soft spot for dogs, this is a love story you’ll find irresistible.

It doesn’t help that Weisz and Claflin have zero chemistry, and both come across as miscast. She lacks the aura of mystery that her character requires, and he’s woefully low on the charisma required of a romantic hero.

Working from her own screenplay, director Robin Swicord (“The Jane Austen Book Club”) delivers a film that balances wry humor and sly introspection.

Gadot proves she is worthy of Wonder Woman’s tiara, but the superhero deserves a great film, not one that’s just better than the others.

If you can channel your inner grade-schooler and appreciate a villain named Professor Poopypants, you’ll giggle at the irreverent world of Captain Underpants.

The franchise has sadly devolved into a cynical cash grab.

The Lovers is the rare film that acknowledges that romance isn’t limited to people in their 20s and 30s. It’s also a smart, quirky comedy that moviegoers of any age should find eminently appealing.

The best indicator of whether you’ll like the film version of Diary of a Wimpy Kid: The Long Haul is whether you think flying vomit is funny.

Reportedly, at least two more “Alien” prequels are planned. If they’re half as good as this one, prepare to tremble.

Perhaps best known for the HBO series “Sex and the City,” Nixon deftly balances wit and melancholy. And Ehle is empathy personified. This is a film of subtle beauty.

Taylor-Johnson — who earned high praise for his performance in last year’s “Nocturnal Animals” — is riveting as a guy in the wrong place at the wrong time.

Pratt is engagingly rascally as Quill, and Saldana brings a sassy charisma to the no-nonsense Gamora. But as might be expected, Baby Groot steals the film.

In a first-rate cast, Titieni turns in a brilliant performance as a man who sacrifices long-held values to bow to the expediency of the moment.

The film is a criminal waste of an ensemble cast that should have found something better to do than lend their names to such a pointless exercise. Free Fire is a misfire.

If you long for a film in the tradition of such grown-up entertainments as “Lawrence of Arabia” and “The English Patient,” this is one to get lost in.

An engaging comedy-drama that avoids becoming too much of a tearjerker.

Diesel and Johnson are at their testosterone-charged best. Theron, who seems to be auditioning to become the next Bond villain, is ruthlessness personified.

Delivers a feel-good film that nonetheless allows for genuine moments of working-class anger.

Young children will be entertained, but for the rest of the audience, pretty colors just aren’t enough.

Little more than an old-fashioned melodrama, but for some moviegoers that will be enough.

Based loosely on a 2013 children’s book by Marla Frazee, Boss Baby has a convoluted plot, but young viewers will be amused by the slapstick humor, the action-packed chase scenes and the sheer ridiculousness of a cute baby barking out commands.

Wilson isn’t a bad film, but it could have used less melodrama and a lot more insight.

About the only shocking thing about Personal Shopper is its perverse lack of thrills.

Some moviegoers will find the experience frustrating; others will be exhilarated by a film that’s far afield from the usual formulas.

The Sense of an Ending does not provide easy answers. But it raises intriguing questions.

It’s hard to imagine a better Belle than Watson, who radiates much the same intelligence and spunk that she brought to Hermione in the “Harry Potter” films. And Dan Stevens (“Downton Abbey”) is excellent as the soulful Beast.

If you’re looking for a film that offers pure escapism, Kong: Skull Island should definitely meet expectations.

If being seated at Table 19 is a drag, watching the film of the same name is worse.

Logan isn’t the typical superhero flick. It’s more like a Western, with Jackman turning in a performance that’s reminiscent of Clint Eastwood in his Man With No Name days.

Once you’re on its wavelength, the film is a mesmerizing experience.

Cinema often shines a light on stories that might have been lost to history, and that’s certainly true of A United Kingdom.

Nothing in the film is particularly memorable either, including the music that changes Bodi’s life.

The film is perhaps best appreciated as a showcase for the gifted Simonischek, whose portrayal of Winfried/Toni is one for the ages.

The film offers insights into Iranian society while also subtly making a case that human foibles are universal.

Reeves is thoroughly persuasive as a killer who takes pride in his expertise. The role he began with 2014’s “John Wick” is tailor-made for his laconic acting style.

Michael Keaton and Christian Bale are the best. George Clooney and Ben Affleck are among the worst. But Will Arnett is by far the funniest.

Working from a lackluster screenplay by a squad of writers, director Taylor Hackford (“Ray”) delivers a film so low in energy that it’s almost as if it was made to assist airline passengers in falling asleep.

Brilliantly blending archival material, including clips of Baldwin on television and in public appearances, with narration by Samuel L. Jackson, Peck makes intriguing connections between the 20th century civil rights movement and the contemporary activism of Black Lives Matter.

Suarez and Ugarte complement each other beautifully, lending Julieta a multidimensional gravitas. And Grandinetti is fine as a man who has no choice but to go with her flow.

Inspired by a true story, Gold is a major disappointment — a film of admirable ambition but woefully underwhelming execution.

Anyone who has ever loved or said goodbye to a pet will be able to relate to this heartfelt story, adapted by Cathryn Michon from a best-selling novel by W. Bruce Cameron. Director Lasse Hallström uses real animals and limited CGI, so the actors’ interactions with the pets are believable.

20th Century Women doesn’t have much of a plot — if it has one at all. But the film beautifully evokes the era just before Ronald Reagan entered the Oval Office.

Not just another biopic, The Founder is a morality tale that raises provocative questions about consumer culture, its benefits and its consequences. You won’t look at a Big Mac the same way again.

This may not be Scorsese’s best film, but it’s unquestionably his most impassioned.

Far from being exploitative, Patriots Day honors the Bostonians who responded to terrorism with strength.

Still, it’s worth seeing for Affleck’s charismatic performance and for its vision of America as a land of greed, violence and political expediency that some moviegoers will find all too familiar.

It’s a perfect vehicle for Driver, who endearingly captures the hangdog humility of his character. It’s a portrayal that might encourage more people to write poetry. And as the quirky but cheerful Laura, Farahani is just right.