Roach and McNamara fall victim to the occasional phony biopic moment or straight-up moment of didacticism, but overall Trumbo is a lively history about the day-in-day-out drudgery of survival during oppressive times. Screenwriters are so rarely taken seriously by the film industry that it’s a nice switch to watch them be the heroes.

Love feels deeply, but not complexly. Both Murphy and Noé’s sustained sex scenes understand want and need, but there’s little to invest in emotionally.

This is a film that dares to be about something while still delivering as a piece of straightforward entertainment.

This is sweet, sentimental filmmaking of the old school, but it’s too sincere to get sticky. If “nice” isn’t the kind of adjective to put you off a movie, you’ll probably enjoy Brooklyn, even if you’re occasionally aware of its masterful manipulations.

"Art Addict” may be encyclopedic, but it’s all-too-rarely insightful.

Unflinching yet unburdened, Miss You Already is like the best kind of hug: warm, reassuring, cathartic, and a fleeting but vital reminder that there’s at least as much good in the world as there is bad.

If The Peanuts Movie never quite reaches the melancholy of earlier films like “A Boy Named Charlie Brown” and “Snoopy Come Home,” it nonetheless respects the importance of failure and disappointment that Schulz always included in his storytelling.

Even a better political satire would have a hard time keeping up with the bizarrely eccentric vaudeville currently taking place on cable news, but Our Brand Is Crisis can’t even come close.

Silicon Valley is built on various inequalities, and, frustratingly, CodeGirl isn’t interested enough in delving into those issues — or the girls determined to overcome them.

The whole film becomes as mechanical as the oversized drills in play at the rescue site.

Sheridan proves he can still act the crap out of a movie, even when crap is all the movie has to offer.

The movie’s climactic exorcism jamboree provides some relief from the movie’s overwhelming dullness, and the final segments put the movie’s 3-D to use, but overall, Paranormal Activity: The Ghost Dimension feels like the last wheeze of a played-out series.

Silva does manage to introduce discomfort slowly, but the manner in which things go very, very wrong is dealt with superficially.

Spectre is a frustratingly unsatisfying experience.

This new “Jem” might be pure cubic zirconium, but that doesn’t mean it can’t be part of a fun night out.

The women’s movements are routinely and depressingly ignored by the movies. But Suffragette isn’t just a dutiful corrective, a lid to cover up a gap, but a necessarily distressing exploration of how much a political vanguard will push and endure to set things right — and how fiercely and eagerly a society that’s resistant to change will punish them for it.

The cast of old pros (including Bruce Willis as a soldier of fortune) amble through amiably enough, but a few laughs here and there aren’t enough to make this movie come together in a satisfying way.

The Last Witch Hunter aims for pulpy, comic-book fun, but it’s never as fleet, funny, or detailed as it needs to be. And if you’re looking for something above middling in terms of plot, characters, world-building, even action sequences, you’ll need to seek it elsewhere.

Burnt ultimately feels like those sous-vide bags that Adam finds so worthy of mockery: trapped in plastic, with the air sucked out of it.

Hou’s brand of reserve might not be for all audiences, but arthouse admirers of cinematic stillness will find themselves enraptured by this hypnotic tale.

Blanchett, as you’d imagine, is riveting, even when she’s saddled with the movie’s on-the-nose dialogue, not to mention a handful of fairly contrived domestic scenes.

Experimenter is a largely engrossing sit, even during an unfortunate moment when Sarsgaard sings and the film threatens to become a musical. But as interesting as the developments are, they’re too inscrutable to stay with you for very long.

Larson excels at determined despair, simultaneously evincing vulnerability and fearlessness. It’s an exciting, tour-de-force performance by an actress who announces herself as one of the best of her generation. If only the film around her were as bold.

While the digital effects are undeniably contemporary, Crimson Peak is otherwise a period homage that mostly plays like a period film, rarely giving in to contemporary notions of pacing and payoff. When the scares do arrive, however, they’re effectively unsettling.

The documentary is a testament to the human spirit, to unity in times of depravation, to the ability of common individuals to effect change at the highest level.

What’s at play here is how sex and the sexual impulse can unleash destructive forces, and Roth enjoys conveying that destruction visually as he lets the ladies loose all over this bourgeois house.

This uneven but funny and engrossing drama is less about Victoria than about time itself: how it slows down in the bleary middle of the night, how it speeds up relationships between strangers when no one else is around, how capacious it is in containing the most unexpected of swerves and stumbles.

A movie that feels like a series of beautifully and meticulously crafted tiles in a half-finished mosaic; you can admire the pieces but still come away feeling like you’ve been deprived of the whole.