The main voice actors all fit their animated personas, especially Poehler and Black. Poehler brings a unshakably quirky optimism to Joy while Black takes his acerbic stand-up routine, makes it a smidge more family-friendly, and turns up the juice for Anger.

Deftly juggling humor and heartache while always exuding a lovable quirkiness, the excellent art-house comedy/drama showcases three teenagers who pop off the screen with originality and, unlike a lot of the current coming-of-age ilk, just the right amount of unpredictability.

Jurassic World gives us enough dino-mite action to stave off excitement extinction.

Feig blends a keen sense of physical comedy and exquisite timing with all the requisite spy-flick tropes, from the trippy and stylish opening credits to surprisingly violent, bone-breaking action scenes that he refrains from playing for laughs.

The cringeworthy dialogue and unmoving earnestness are the biggest disasters in this mostly forgettable action flick.

A spectacular ride for most of it, and while you're a little let down at the end, you kind of want to jump back on and do it all over again.

While just a jot less fun than its predecessor, Pitch Perfect 2 is a worthy sequel in tone, even if the story feels padded with a few too many montages.

When the original filmmaker upgrades and expands on an idea and uses new technology while retaining the essence of the original story, it can be just the ticket for jaded moviegoers. Such is the case with Mad Max: Fury Road, an operatic extravaganza of thrilling action and nearly non-stop mayhem.

While Kristen Wiig fully commits to her bizarre, mentally ill character in Welcome to Me, the result still feels more like an extended sketch than a movie.

Downbeat but humanistic, Maggie is the rare zombie tale that's less about the appetites of the walking dead and more about their complicated emotions.

Hot Pursuit is this week's "Paul Blart." Which is to say, it's ill-conceived, not funny, overbearing and not in any way worth watching.

The D Train is long on high-concept comedy, then runs out of steam and becomes a forced and far-fetched drama.

The latest version of Hardy's 1874 classic works on all levels. Foremost, it is brilliantly directed by Thomas Vinterberg,who also made two other masterful dramas, 2012's "The Huntand" 1998's "The Celebration."

Director Joss Whedon knows how to make a wryly funny, action-packed extravaganza, as he proved with 2012's "The Avengers." So why did he overstuff the 2½-hour sequel?

The story feels like a less complicated companion to "The Curious Case of Benjamin Button." Obvious logical questions are ignored. For instance, if she remains 29, does that make her immortal?

Crowe's performance is the best thing about the ambitious historical drama, which takes some artistic liberties.

Unfortunately, Leo is the only well-developed character in a handsomely mounted but tedious drama with an impressive international cast.

True Story is an intrinsically fascinating and occasionally riveting tale marred by unnecessary embellishments.

Blowing this small-screen cyber horror tale out to the big screen makes for fresh and fearsome fun.

Alex Garland, the screenwriter of "28 Days Later" and "Sunshine," makes an auspicious directorial debut with this suspenseful mystery.

Slavishly follows the well-worn and soggy Sparks path.

It will be hard for audiences to remain even vaguely attentive during this slog of a feudal vengeance tale.

Furious 7 offers edge-of-the-seat excitement with outlandish action sequences, inventive stunts, hilarious cartoonish moments and even some touching emotion.

Who's more pretentious: hipster Millennials or bourgeois Gen Xers? It's a question While We're Young toys with, if only to provide a context for a sharply observed and witty dark comedy.

Get Hard is hard to sit through and hardly funny. So unless you're really hard up for entertainment, stay away from this tone-deaf raunchfest.

Home could have fashioned a more original story, dug deeper into a theme of cultural understanding and jettisoned the toilet humor.

This second installment, based on Veronica Roth's series of YA novels, feels cobbled together and less focused than 2014's Divergent, and lacks tension and excitement.

The only redeeming feature about The Gunman is its exotic locations.