The Homesman aims for a story that's poignant and told sparely, but comes across as mawkish, tedious and self-indulgent.

The year's most riveting documentary.

It exists somewhere between serious character study and satirical fish-out-of-water story, never figuring out which it wants to be.

The film is involving, nimbly acted and smartly directed, though conventional in its narrative style.

The most endearing character in Disney's animated superhero animated movie is a one-man Affordable Care Act. (Make that a one-robot ACA.)

The corny love story is all the more disappointing given the pedigree of the octogenarian actors.

Through most of the movie, the former star of the Harry Potter movies sports an impressive set of curling ram-style protuberances that bring to mind a character in "Pan's Labyrinth."

Thirty pounds lighter, all cheekbones and bulging eyes, Gyllenhaal plays one of the year's most memorable characters in this dark, provocative drama.

While it reaches for the stars, director Christopher Nolan's Interstellar is a flawed masterpiece...The story is ever-ambitious, sometimes riveting and thought-provoking, but also plodding and hokey and not as visionary as its cutting-edge special effects.

White Bird in a Blizzard is blank, pale and flat when it needs to be probing and suspenseful.

A deadly dull and overly familiar movie about summoning ghosts that draws upon nearly every horror movie cliché.

It's that kind of performance, while holding her own with misogynistic soldiers and combing her hair with a plastic knife, that makes Stewart's talent stand at attention more than anything else.

John Wick serves up a noxious, clashing blend of hyper-realistic and cartoonish violence. Too bad there's no cinema decontaminating service that can wash our memories clean of such useless gore.

What makes it slightly better than the others is an affable, low-key chemistry between James Marsden and Michelle Monaghan as star-crossed lovers.

One of the year's most audacious, savagely funny and unpredictable films, it features an outstanding performance by Michael Keaton as the has-been star of a superhero franchise desperate to be taken seriously.

While the story is not as mythic or fanciful as it seeks to be, its predictability is trumped by the film's beauty.

Fury does capture the brutality of war and the misery of life spent largely confined in an armored tank during the war's final weeks, in April, 1945.

As suspenseful as any episode of Showtime's "Homeland," which director Michael Cuesta also executive-produced.

At times Dracula Untold flirts with dullness so much that it might as well just stick a stake in the heart of Bram Stoker's legacy.

The exhilarating, inventive and suspenseful story hinges on a pair of commanding performances.

A film in which precocious kids say things real kids never would, and larcenous drunks come off as adorable.

The overall message is pleasantly sweet: Bad days happen. Not only are they inevitable, but they serve to make the good times worth savoring. There's nothing dreadful about that.

A classic example of a second-rate courtroom drama.

An awkward blend of fable, travelogue and relationship drama, it's the story's hybrid style, vapid message and predictable arc that disappoint.

Annabelle invites unflattering comparisons with scary movies that came before, but its disparate parts never coalesce into a genuinely fearsome thriller.

Audiences could use a wise and probing movie about the meaning of our increasingly digital, techno-juiced lives.Men, Women & Children is about half that movie.

The performances don't help matters any, with acting ranging from tolerably earnest to laughable. Cage keeps Left Behind from being a completely unholy mess.

Lie is openhearted, earnest and well-intentioned.