Prophet’s Prey is a skin-crawling chronicle of one of America’s biggest criminals and the community that allowed him to flourish.

While the game Chevalier keeps evolving into something darker, the movie Chevalier is fairly static. The style’s unchanging throughout, holding to a slow pace and a muted sense of humor.

Meet the Patels is a fascinating window into the cultural practice of arranged marriages through a contemporary lens and anyone who’s been through the trials and tribulations of dating (or parenting those who are) can relate.

Its few saving graces are some decent shot-making, a rather great score and the loveliness of its lead actors' faces.

De Palma is a joy: a hit of garrulous cinephile cocaine so pure you want to do a Tony Montana, fall face-first into it and inhale it all in one go.

Its very wonkiness is one of the things that makes A Bigger Splash a good time — the sense of a filmmaker, perhaps aware that the story he's telling is not terribly deep or philosophically provocative, allowing himself to go off the rails every now and then in how he's telling it.

It has all the makings for Green to find that sweet-spot between drama and comedy, and make something special. Instead, we're left with something exasperatingly bland and almost claustrophobically generic.

Kaufman and fellow director Duke Johnson strike the right balance here, deftly mixing spiritual crisis and despondency with moments of painful awkwardness and biting hilarity.

Abraham the writer lets down Abraham the director, and ultimately lets down his stars and Spinotti, too.

The Martian is the most purely enjoyable picture Scott has made in years. The streamlined narrative and the film’s consistent pacing, aided by a cast who don’t make a wrongfooted move, makes for easy popcorn entertainment.

Moore has made his best film in over a decade, and one that clarifies exactly what his strengths are.

The film’s attempted cathartic payoff is inauthentic and unearned, and it’s a shame considering that Gyllenhaal once again gives a committed turn.

Portman wants to articulate something beyond the ordinary, and while she hasn’t found it in this picture, perhaps there are lessons here to be learned before she mounts her next effort.

It may not be a complete return to form for the once-revered auteur, but as an unexpectedly chilling horror concoction defined by skillful scares, it’s a significant step in the right direction.

It’s worth the price of admission just to see Hardy’s Reggie performance, which is up among his best work. Still, the story could have perhaps used a more inspired hand at the helm.

Right up until the film’s very closing moments, in which the carefully maintained tension and tone snaps under the ratchet of one melodramatic turn too many, it is not just an absorbing performance piece, but a film of real directorial confidence and flair.

If only Carey Mulligan had been inspired to protest for the right to a better script for Suffragette, an overly schematic look at the struggle for women’s voting rights in 1910s Britain that almost gets by on the strength of a great slow burn of a lead performance.

A deliriously quick-footed and orchestrally pitched character study, Steve Jobs is an ambitious, deeply captivating portrait of the high cost of genius.

Room has unforgettable, must-witness performances, and its soulful mother and son narrative is one of the most touching dynamics you’ll see in theaters this year.

The fact is that both actors are very good, even if trapped in the amber of Hooper's overweeningly tasteful direction.

There is nothing underneath the glossy surface and no real insight into what made this man tick — and despite how creepy he looks here, Bulger was a man, not a devil.

Chloe And Theo should have been a film about Theo: a complex man taking on an unfamiliar world he is not particularly fond of, with little more than conviction and principle to help him along. Instead, we get another film where a hapless foreigner teaches white people how to better themselves.

Meru is a flawed but deeply riveting account of what happens when men walk right up to the edge of madness.

It’s clear that the Panther legacy lives on, and Nelson’s film is a necessary primer for understanding the party — in it’s own words.

Amidst this goofiness, Skrein proves a serviceable Statham replacement, capable of executing elaborate martial arts-inspired fight moves, glowering behind the wheel of his car, and generally acting like a cold, detached thug-for-hire who, deep down, has a heart of gold.

It's the best film McCarthy has ever made: restrained, intelligent and grown-up, but unfolding with the pacing and rhythm of a thriller.

Matching Fukunaga's proven storytelling grace with a story truly worth the telling, the result is explosively authentic and yet lyrical, making an utterly inhumane and alien situation both completely real and completely abstract.

Salvatore Totino's crisp 3D photography and Kormakur's way with a clear, fluid, thrilling action sequence show off the mountain in immensely impressive ways. But the humans involved get short shrift.