Linklater does the remarkable, turning poetry into everyday life and everyday life into poetry.

The cast give excellent performances of striking sensitivity, and the film is worth it for them alone. 

Cavalry has moments of tremendous spiritual power, but it nonetheless falls short of greatness. 

What director Josh Boone made wasn’t a film; it’s a finely tuned manipulative machine, primed with ruthless efficiency to elicit powerful response of leaking emotion.

Guardians of the Galaxy isn’t just hilarious, extraordinarily fun, or full of beautiful visual effects, it’s also the easiest film to recommend of the year so far. 

The philosophical possibilities of the premise are only flirted with, but this is a blockbuster that really works. 

Days of Future Past is in such a hurry that it starts to stumble, and moments of perfect balance are few.

Godzilla isn’t a film of scenes; it’s a film of images

The Amazing Spider-Man 2 is a film singularly disconnected from itself and the audience alike, the type of baffling mess where every creative decision is in question. 

  If Locke is trick, it’s one with expert sleight of hand

The ambition is impressive, but once you figure out the puzzle, and I did by the halfway point, what’s left? 

The title becomes an ironic tease of everything it should have been, but none of what it was. 

Joe has only one saving grace, but it doesn’t save the film: the performances. 

The Raid 2 is a fierce adrenaline rush of action porn on a level you've never seen. The film, like most everyone in it, is a killer. 

Noah is a film of astounding personal vision and expert achievement, but its real genius is how it touches on the underpinnings of what it means to be a believer.

If I were feeling harsh, I’d compare it to a mediocre Doctor Who episode with high-art ambitions.