In Buster’s Mal Heart, many of the intriguing thematic ideas in the first half of the picture, are left adrift in favor of trying to keep the audience on its toes.

Make no mistake; there is no disputing this is clearly one of Marvel’s better efforts. And, yes, attempting to break from the expected shackles of a lineage of other origin movies is difficult, but you still feel the formula straining at the core of Doctor Strange.

It’s simultaneously incredibly pleasurable and quite disturbing, owing to its chilling elements and commentary on larger issues.

An exceptionally well-executed and emotionally heart wrenching documentary.

Overall, Good Kids is an average, uneven, coming-of-age flick with decent performances, serving as a harmless example of the joy of having one last (or rather first) hurrah before entering the next phase of life.

Despite all the craft and care it seems just slightly deflating that Fire at Sea can elicit a relatively complacent reaction when it is such a thoughtful, deeply-felt and exquisitely observed film, set right in the eye of a raging storm.

Keeping Up with the Joneses sometimes clicks, thanks to the commitment brought by the cast, but it’s too often shackled with a tired plot to really make the most of its potential.

Moore’s goal — save the country from the worst Presidential election of all time— is sound, but his ungainly presentation and shaky arguments make for an uneven polemic that never takes fire, even when doused in gasoline.

Despite Herzog’s efforts to keep it as entertaining as possible, “Inferno” does feel like it overstays its welcome a bit. That being said the access and footage they’ve compiled coalesces into a truly cinematic experience. One that would be hard for anyone else to even fathom attempting to duplicate.

Yourself and Yours lacks the narrative intricacy of the South Korean filmmaker’s most celebrated work but nonetheless serves as a charming introductory point for unfamiliar audiences.

Apart from assured direction and strong performances, “A Stray” succeeds because even though it’s about a specific cultural group in the United States, it manages to depict universal, relatable truths about the plight of those newly arrived in the country.

Jack Reacher: Never Go Back isn’t a throwaway, and mainstream action/thriller fans should come out more than satisfied at the visceral nature of the film. But anyone hoping for more than a superficial on-the-run chase movie will probably wish Reacher had stayed home, instead of going back.

The Lost City Of Z won’t be for all viewers, but its delicate devotion to itself is something sure to inspire admiration and obsessives.

Billy Lynn has its moments, but its critical and unexpected folly is that the cutting-edge technology diminishes the picture emotionally, its ungainly look trivializes the drama and indulges it with an undesirable air of superficiality.

Trimming the film’s manipulations and inessential qualities would only improve it, but judicious editing would leave very little meat on its bones.

Even if the film isn’t entirely to my taste, it’s a provocative and powerfully made piece of work.

Hara marries biography to observational and slapstick humor, plus a healthy dose of supernatural rumblings, and in so doing produces something altogether fascinating and endlessly entertaining.

An above average, carnage-driven Korean crime drama.

Shin Godzilla ushers in a new age for Godzilla, and a welcome one at that. It’s not perfect, but it’s ready to ask big questions and also demand thoughtful answers. In that sense, it’s one of the most valuable Godzilla movies to come along in years, decades even.

Seemingly primed to deliver daffy thrills, The Accountant instead goes about its noble-killer business with all the excitement of an IRS audit.

Theo Who Lived is a cross-pollination of performance art and self-purging, a cleansing act that allows Curtis to face the demons that still torment him today from within the safety of a film production.

The bad news, for anyone over the age of eight, is that it’s at its best disposable, and at its worst really, really annoying.

Though the film doesn’t quite overwhelm as horror, the thematic implications are dense enough in this case that it ends up leaving a lingering aftertaste anyway.

The critical failure of 37 — because certainly a film is allowed to have disdain for its characters; there is no law that art must care for its subjects — is the fundamental lack of narrative, or even of tension.

Masterfully played by Annette Bening, Dorothea is a fascinating character of contradictions.

The filmmaker has a real gift for getting into the political context of her stories while never neglecting the personal, and seeing the Khamas gradually win over his people, while still battling the British establishment, is gripping, rewarding and eventually moving.

Keeping things on the right side of watchable are the performances, none of which are particularly revelatory, but all of them serving the territory their role in the story requires. Blunt and Bennett both rise above the pack, but even so, the screenplay doesn’t give them dimension until almost too late.

While ‘Life’s Journey’ might be a deeper meditation on the meaning of life and deeper questions of who we are, The IMAX Experience is a more realized version of similar ideas. Ultimately, The IMAX Experience is a tone poem that not only pays tribute to planet Earth and the life that inhabits it, but marvels at how this miracle was created.