The 33 has a disappointing lack of depth for a movie about being trapped 2,400 feet below.

In an age of digital chaos and deep emotional themes The Peanuts Movie keeps things sweet and simple, perfectly in tune with the qualities Schulz fans adore.

Watching Spectre unfold, lumbering and slumbering, on the heels of a franchise high is a shock, so much talent coasting this time.

Our Brand Is Crisis shows flashes of insight cribbed from reality, nibbling the edges of satire without ever taking a big bite.

Rock the Kasbah isn't respectful of truth, or consistently funny in the way it lies.

Danny Boyle's movie is meticulously crafted to artful specifications, written in Aaron Sorkin's torrential style and acted to perfection by a superb ensemble. Yet like Jobs' NeXT Cube in 1988, there's one obvious question that isn't satisfactorily answered: What does it do?

Bridge of Spies is solid work but feels like Spielberg's best intentions as a filmmaker and world conscience on cruise control.

Horror is an impatient person's game these days, and Crimson Peak isn't hurried at all. It seduces with creepily erotic atmosphere, and performances in perfect tune with the script's melodrama.

The most gratifying takeaway from He Named Me Malala is how ordinary Malala is shown to be, when she isn't lobbying the United Nations and visiting beleaguered countries.

Big Stone Gap isn't everyone's cup of sweet tea. It's a homespun tale populated by broadly drawn characters and solid actors — Whoopi Goldberg, Jane Krakowski, Anthony LaPaglia — sounding like they gulped hush puppy batter.

Director Joe Wright's movie barely gets off the ground, and gets old quickly.

99 Homes combines the insight of documentary filmmaking with a thriller's urgency, opening our eyes to a complex, real-life tragedy while keeping it entertaining.

Ridley Scott's The Martian is a brainy blockbuster, melding genuine science and fiction into a rare popcorn epic that actually makes you feel smarter for watching.

Sicario is a tentacled drug cartel thriller grabbing viewers by the throat and squeezing for two hours. This movie continually defies the conventions of its genre, from its hero's gender to the vagueness of its morality.

A marvelous technical achievement when the director finally gets around to it.

Pawn Sacrifice tells a fascinating story in unspectacular fashion, resulting in a draw.

The Intern is a movie outmoded in style and strangely retro-sexist in spirit.

By all accounts, Boston mobster James "Whitey" Bulger was a monster. That's exactly how Johnny Depp plays him in Black Mass, a dark blob of underworld cliches and bad contact lenses.

Director Baltasar Kormakur (2 Guns) essentially made a faux documentary with big stars and better lighting.

Mistress America is certainly funnier and sunnier than While We're Young, mostly thanks to Gerwig, America's dizzy, dazzling new girl on the side.

A Walk in the Woods is a trifle compared to 2014's Wild, which tracked a similar real-life journey toward self-discovery in richer detail. But darned if Redford's easy charm and Nolte's gravelly lack of it aren't enticing throughout.

The movie takes something primally appealing and attempts to explain it, fetishize it, turn it into something deeper and more dramatic than it is.

American Ultra is a clumsy mix of courtship and gunpowder, passion and horror leading to a romantically sick-humored conclusion. The end nearly justifies director Nima Nourizadeh's means of getting there. But not quite.

More interesting than the hows and whys of N.W.A.'s controversial rise and fall in the industry are the inside snapshots of the industry itself, from grimy Compton clubs to electrifying arena concerts to hotel orgies to studio sessions that illuminate Dr. Dre's creative process.

Stylish to a fault and straying from the source, Guy Ritchie's The Man From U.N.C.L.E. revives a 1960s television hit for the short attention spans of today's youth-skewing movie audience.

The End of the Tour asks viewers to lean in, listen well and be rewarded with an uncommonly intelligent and relatable movie experience.

As an actor, Meryl Streep is incapable of making false moves. That doesn't mean she's incapable of making false movies.

The stop-motion technique never ceases to fascinate, but the episodic structure of Shaun the Sheep Movie hinders any true emotional buildup and payoff.