If there is a big complaint to lodge against the film, at least for those with some foreknowledge of the team’s history, it’s too short. There’s so much great material and history to explore with the Soviet team that the film could easily have been a five-hour miniseries and would be even better.

A limp psychosexual thriller that takes a promisingly trashy conceit... and does absolutely nothing with it, and saddles it with wooden performances, poor staging, and a complete lack of conviction. It reaches a nearly operatic level of ineptitude.

Americons is a shady sub-prime loan you should not waste your time and energy on.

Strange Magic is messy and uneven and occasionally annoying, but it also dares to be different.

The picture is a triumph: it's arguably Garland’s tightest and most fascinating screenplay to date, brought to life with meticulous filmmaking and sensational performances. It's the first great film of 2015.

This film requires so many leaps of faith and suspensions of disbelief that you might develop acrophobia.

Dull and lifeless, Vice fails on the promise of even its lowest ambitions.

Sadly, the sequel isn't even so bad as to be memorable. Instead, it's vaporous, not even possessing the qualities indicating that anyone involved cared about any detail of the film.

Beloved Sisters might scratch your costume drama itch, but it’s not among the genre’s best.

Stretch is a truly enjoyable oddity, a movie that was too brash, too weird, too idiosyncratic for a major release, but one that should settle into a nice, long shelf life. Stretch is a wild ride, and one very much worth going on.

This is Stewart's show, and it's a dynamite role for anyone, never mind the screen's beloved Professor Xavier. The actor slips away and Tobi ultimately dominates the screen to the point where you lose track of the film proper and become Tobi's guest.

Blackhat is a meticulous and exacting procedural, as obsessive with its hunt for its intangible antagonist as Mann’s compulsive desire to appreciate the flow of 1s and 0s in the virtual space. It’s chockablock with technobabble and jargon that may alienate the average viewer, but Mann’s secret weapon is his infectious fascination with the subject. The movie is like a conductive surface for his unmitigated zeal, and its potency is viral.

It might be slight, but Loitering With Intent is fast, funny, and incredibly heartfelt. And sometimes that's enough.

The inescapably precious Still Life doesn’t deal in anything as truthful, complex and difficult as empathy; its only currency is pity, and that is the basest coin of all.

Never, for one second, is Vikander anything less than entirely truthful.

There are so many interesting ideas and concepts that could have been spun from this framework. Instead, it's the work of a bunch of filmmakers who seemingly wanted to offer up a WTF-worthy twist ending and tried to reverse engineer a movie from it.

Vaughn and his collaborators have taken a crude and disposable property and turned it into something more – a thoughtful, exciting, whip-smart spy adventure that doesn't let its smart-ass post-modernism overwhelm its playfulness or its heart.

Once it becomes clear that this is no mere murder mystery, and the bizarre turns into the ludicrous and into the depraved, Dumont’s analysis of life’s toughest questions (reaching for an understanding of the very essence of evil) as told through the simplest of ways becomes tremendously captivating. And it’s worth noting, again, just how laugh-out-loud funny this is.

Campy and cartoonish, Burton’s Big Eyes is not the return to form many were hoping for. It is another phony and hollow piece of sugary kitschploitation masquerading under the guise of an “important true story” that places a nearly grotesque premium on style over any traces over substance.

Night at the Museum was always the best when it was closest to complete anarchy, tapping into the zippy, good-natured malevolence of filmmakers like Joe Dante, but here that energy is gone, replaced by a kind of sleepy noncommittal attitude. The magic has dried up; the museum is closed forever.

If it were funnier, perhaps the trite action and insipid characters could be excused, but it isn’t nearly funny enough for that.

Has its moments, especially any time Streep is on screen, but as it strains on at an overlong two hours, the glitter of fairy tale movie magic diminishes, leaving only a pale shadow.

Shot in pedestrian fashion, it is set in an intriguing and entirely foreign milieu, but the film ends up just too inscrutable and oblique for us to really engage with it, or its often incomprehensibly motivated characters.

Goodbye To All That is not going to impress the visual, form or style cinephiles of the world, but it really shouldn’t matter. The content is tops. And as an astute and empathetic portrait of human crisis, resolve and survival, it’s a wonderfully authentic and perfectly touching one.

Funny, unique, and entirely inappropriate, Appropriate Behavior is a supremely satisfying and irreverent take on the New York rom-com.

Unfortunately Things People Do scuppers its own chances by having people do things we just don't ever, ever believe they would.

Though the plot gets points for originality, there may be a reason why no one has told this story before: it’s ridiculous. But Take Care occasionally succeeds with funny dialogue and performances from Leslie Bibb and Thomas Sadoski.

Red Knot" is insightful in the way few first films are, and marks Cohen as a filmmaker to watch.