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Straight Outta Compton -- Entertaining and accessible enough that this movie could probably make some rap fans--or at least N.W.A. fans--out of people who really aren’t all that into rap music. The only real complaint about this flick is that the story is too big for one movie; there’s no way the whole tale has been covered in full in this treatment. Nevertheless, this movie makes the case that these young guys deserve even more respect than they ultimately got, not just making cool music, but for being brave, sharp, and for seeing the big picture, too. Definitely worth a look, and a listen.

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Concussion -- Solid, earnest, and convincing in its premise that the NFL knew and didn’t care. Will Smith really does give a tremendous performance; if you remember back to some of his earlier works, it can be hard to reconcile those performances with the portrayal presented here. And that’s a good thing. As for the moral, maybe some of the viewers will have reservations about watching football in the future; I suspect, however, that it won’t change anything, or at least not that much. You should still see this film anyway, just so you know what you’re supporting.

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A Face in the Crowd -- The villainy of Andy Griffith--who would have thought it? Apparently, Elia Kazan, that’s who. This film has become a standard namecheck for explaining our country’s current politics--no, Lonesome Rhodes is not Trump; Glenn Beck remains the modern model, though others are coming up fast behind him--so it’s probably must-see material at this point. Fortunately, it’s entertaining material, so you won’t get bored watching it. The only real problem is, in the end it might be too hopeful; there’s no guarantee that our ending will actually be even this happy.

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The Sea Hawk -- An absolutely standard, straightforward Errol Flynn swashbuckler, like many others, almost to the point of being templated. It’s a fortunate thing, then, that Flynn, director Michael Curtiz, and some familiar cast members all had that template down pat. The movie provides exactly what you expect of a old-time pirate flick, and that means high entertainment. It does run a tad long, with a bit of a dull stretch in the middle, but the payoff is worth it, and it’s ultimately a very satisfying experience.

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Metropolis -- The first great sci-fi movie? I'll go with that. Once you get past the disorientation of watching a silent movie--there's always a bit of that for a modern viewer--you very quickly sink into an absorbing story and visual presentation that is every bit as creative as most movies these days. And a story about out of touch elites and the dire consequences that can result from that inequality remains very relevant to today. Note: this review comes from watching the "restored" version of this film.

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King Solomon's Mines -- (1950, with Stewart Granger and Deborah Kerr.) I often preach about old movies being better than you think they are; this one's not exactly a poster child for that concept. Not to say that it's bad; but the running time largely consists of a pastiche of wildlife encounters--which were probably fascinating back in the day but relatively bland for today's jaded viewer, who's seen all this and better in any number of nature shows--and a story that meanders to an ending with very little payoff. This one's probably only for the film buffs out there.

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American Sniper -- Sometimes it’s good to be behind the times. Like, for instance, when you watch a movie a year after it hits theaters, and all of its accompanying controversy has receded into the background. This film would probably have been hard to judge when it first arrived, given the heated atmosphere surrounding it then. When viewed with some perspective, you can judge this film clearly: a very good movie featuring an excellent performance by Bradley Cooper, and not nearly as much jingo as its harshest critics believed. As usual, director Clint Eastwood brings much more nuance to a potentially propagandistic subject than the casual observer might expect. Certainly, he clearly shows that, for all his gung-ho, Chris Kyle paid an enormous price for his time in Iraq--and as such stands as an appropriate metaphor for the nation as a whole. Definitely worth a look.

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A Walk Among The Tombstones -- Perhaps it’s a product of the fact that I’m generally not into the mystery genre, but I found this film’s story/plot to be--mostly--genuinely surprising and opaque. One can argue that that’s not a good thing, but for me the lack of predictability (in details; the big picture remained fairly obvious) created a more enjoyable viewing experience. Certainly, Liam Neeson has this “world-weary cop” routine down pat by now; he’s played one variation or another on this character in most of his recent movies. But the role fits him like a glove, so instead of banality and too much comfort the repetition leads to expertise, and subtle shadings from one iteration to the next that the audience can appreciate. I think this is a good pic to watch, but others more familiar with the genre may find this outing somewhat pedestrian. It all depends on whether you’re a fan of Neeson, mysteries, or both.

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Star Wars: Episode VII--The Force Awakens -- Those of a cynical mind might view the derivative nature of this outing--it is an almost blow by blow remake of the original 1977 story--as purposeful exploitation of a) an older, captive fanbase audience, and b) a new, younger generation of potential audience members who don't know from the original anyway, and won't be able to recognize the recycling. It is very likely that that cynical view is 100% true, but that does not necessarily toss this film onto the trash heap. The characters old and new are engaging (the newcomers acquit themselves very well), the movie looks beautiful, and at no point did I find my attention wavering during its relatively long running time. Ultimately, one should probably take this installment for what it is: a decent "soft" reboot of the franchise that, perhaps, raises a new hope for better things to come.

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Taken 3 -- It would be too much to ask for a second sequel to be as close to as good as the original. This copy of a copy is, of course, nothing close to the first entry, and by the end the threads start to feel very frayed, and the plot twists border on the absurd. But for the most part, this is a fairly entertaining outing, another chance to see Liam Neeson's Bryan Mills do his lethal and chaotic thing, which is still a hoot. I wouldn't go out on a limb and call this flick necessary, but it's not as awful as it could have been. That may be grading on a very forgiving curve, but that's the benefit you get when you've previously built up audience goodwill (Avengers producers, take note).

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The Martian -- This movie has its weaknesses; a large dose of predictability mixed with plenty of moviemaking and story clichés come immediately to mind. But its strengths are very strong, including an excellent cast in top form and an inherently interesting premise. And the film's greatest strength of all may be its most important trait: its high level of intelligence, particularly in its depiction of science not just as an airy concept, but as a practical way to solve problems. If enough people watch this movie, and absorb its scientific frame of mind, it might nudge this world towards being a place that's a little bit better than the ignorant, superstitious madhouse where we currently live.

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Mad Max: Fury Road -- Talk about not taking the path of least resistance. This hyperextended action sequence--it strains the language to call it a story--can at least be said to be honest: it delivers exactly what you expect of a movie about everyone's favorite post-apocalyptic, insane Australian, without any other promises. The delivery in this case is an almost indescribable orgy of mayhem--a breathtaking spectacle of violence that does provide a rush of visceral fun. On the other hand, there's a bit too much predictability here, not to mention a sense, when all is said and done, that there really wasn't much point to the whole proceedings. The same thing could have been accomplished, apparently, with a simple assassination. If you're the type who gets his jollies from this sort of craziness, then sure, this is the film for you. But if you expect a little more from your mayhem than just, well, mayhem...then there may be better things you can do with your time.

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Run All Night -- And a grim time was had by all. This is some pretty dark stuff here, which perhaps should be a point in this film's merit. This violence has consequences, and there's a strong message here that says a life of crime comes back to get you, even if you skirt the law in the process--an interesting deviation from most flicks in the genre. On the other hand, there's a certain lack of originality here; the plot, including the "flash ahead" device, is fairly well-worn, and you can tell pretty much what's going to happen all the way through. Overall, it's a tough call; I can see recommending this movie, but I can also see its demerits, too. If you really dig these Liam Neeson shoot 'em ups, the go for it; otherwise, maybe you can find a better film to give your two hours to.

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A Most Violent Year -- Watching this movie is an extraordinary experience, not just because the story and performances are good (they are, very much so), but because the world it depicts (a gang war between heating oil companies in New York City in 1981) seems so alien to those of us living today--even if you're old enough to remember that year. The story is compelling, but what really drives this film is the performances of the leads; Oscar Isaac and Jessica Chastain skillfully rebut any arguments that the best actors these days only come from England (or maybe Australia). Both of them are riveting in their roles, particularly Isaac (who continues to demonstrate that he may now be the premier American actor of today). And Albert Brooks is brilliant (and almost unrecognizeable) as Abel's lawyer/consigliere. Overall, this is a mesmerizing study of a time and a place long gone but brought back to life by exceptional talents.

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The Imitation Game -- Much of what you see here is actually very standard, boilerplate "outsider" drama, set in the equally standard venue of a World War II movie. The loser who ultimately wins, the challenge to authority, the competition won--it's all there, as it is in a hundred other films. So why is this movie different? Different enough to be really, really good? Two things. One, the true story goes beyond the win to show the outsider ultimately losing (though with a winning legacy); and two (and this is the thing that really makes the movie worth watching), the expert execution of the presentation, particularly in the job the actors do in inhabiting their roles. Special performances by the leads (and, for that matter, the supporting cast) elevate this pic from the standard to a truly special viewing experience.

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Ex Machina -- This is a good movie...just not as good a movie as the breathless hype that surrounded it made it out to be. It does make you think, mostly about how you would react--and interact--in just such a situation. The film also makes a point of keeping things ambivalent enough that you don't really know if Oscar Isaac's inventor is a villain, or not...or, for that matter, if the AI is a villain or not, a murkiness about the subject that mirrors the real life debate on the seemingly inevitable rise of the robot world. I guess we'll find out that answer eventually, but you're not going to get it here. Still, I'd say this one's worth a look, as a change of pace if nothing else.

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Whiplash -- Again with the jazz. If jazz is as wonderful as everyone who likes it says it is, why does it only feature in films like this? Seriously, try to find a real jazz station on the radio these days. But I digress; the more pertinent question raised by this movie may be, what’s up with these people? The film actually undercuts its own argument; since precious few viewers will be able to tell the good playing from the bad while watching this one, one wonders if the obsessive attention to perfection is in any way valid. Whom are you trying to impress? Five other people in the room?...or in the city? If that’s all there is, just your own little knowing circle, and you act like this...aren’t you just being a dick? Do movie viewers care about dicks? Perhaps I’m just being contrarian, because this film is in fact entertaining, interesting, and worth watching. Just don’t expect to find any new heroes here.

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Wild -- Talk about a tough row to hoe. Or is it a tough road to ho? You can go either way with this flick. That’s not the only question raised by this film. For instance: why exactly does hiking the PCT redeem you when you’ve sunk so low? Maybe, if the whole thing really was life-changing and all that...but there’s enough evidence in this story to make the case that Cheryl Strayed--at least as portrayed in the movie--didn’t exactly go through a St. Augustine-style conversion after all was said and done. At least the visuals are appealing. Ultimate judgement: not a bad movie, but maybe not as impressive as the filmmakers (and critics) thought it was.

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Into The Woods -- My hearing must be going. Once again I've watched a movie where I couldn't hear a lot of the dialogue--in this case, in musical form--over all the background noise and orchestration. Alas, the burden of getting old. The fact that that is my concern when thinking about this film is a warning sign; it's a movie that promises much but delivers not nearly enough. I'm not sure the "wisdom" of the fairy tale rewrites is all that wise; folk wisdom gets to be folk wisdom for a reason, and you coming along with your jaded worldview does not necessarily change everything. Oh well; at least you get to spend a chunk of a couple of hours with the awesomeness that is Anna Kendrick, so that's something.

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Non-Stop -- Liam Neeson sure does have this ass-kicking thing rolling along these days. In fact, Neeson has grown so comfortable with this formula that by now it may be starting to show some wear and tear. This iteration of the model comes across as somewhat lacking; the action sequences don't feel all that active, probably thanks to the limited staging options of an airplane cabin. There's little of the joyful mayhem of the Taken series here; mostly it's just Neeson looking confused as he tries to figure out who the villain is. The star isn't alone in that; the recursiveness of the film's whodunit plot means that suspects previously dismissed wind up coming back again--unfortunately, without a particularly good reason for their plotting. This is hardly the sort of movie from which you should expect greatness, but a better effort than this shouldn't be too much to ask.