Joe Neumaier

Urgent as a heart attack and as timely as the headlines, 99 Homes is one of those films that make other "topical" dramas look tinny. This astute, intense drama boasts sharp performances and belongs in the same company as films like "Margin Call" and "Michael Clayton" -- contemporary stories whose of-the-moment nature only makes their great parts better.

She's inexhaustible, seemingly everywhere at once and, throughout director Sara Hirsh Bordo's unblinking, well-directed film, she is absolutely and fearlessly herself. Which is exactly as it should be -- the world needs Lizzie Velasquez.

Maguire’s portrayal of Fischer’s volatility, disconnect and inner demons is gripping. It’s his best performance since “Wonder Boys” (2000). Schreiber hardly says anything, yet he’s gloweringly good. He acts with his jowls and brow and swept-back hair, making the sort-of rock-’n’-roll Spassky a polar opposite, but strategic equal, to Fischer. Saarsgaard is also terrific, lending a quiet air of solemnity and thoughtfulness.

This dramatic thriller finds a spot somewhere between your brain and your stomach, and drills in.

The movie itself is an intriguing but ultimately unspecial Feds-vs.-hoods drama. But as the sinister, snakelike South Boston criminal Whitey Bulger, Depp delivers.

This beautifully observed drama creates an intimate feel and gently observed moments of connection and angst. Then things move forward with almost too heavy of a heart.

The success here is mostly due to nuanced performances and an appreciation for what these kinds of films require.

Director Khalil Sullins’ movie has its heart and brain in the right place, but its guts are a mess.

The fear, desperation and hope of Time Out of Mind is painfully, hauntingly human.

What this rich film does go into — in a lengthy tangent that’s less punchy but important — is the impropriety Jobs trafficked in when he allowed himself and high-ranking Apple-ers to be granted backdated stock options. They got wealthy as their product was being made, amid some scandal, for a pittance in China.

The Transporter Refueled should be put up on blocks.

Unfortunately, there’s a more potent power present here: dullness.

“Natural” perfectly describes Nolte’s performance, too. With his growly voice and bear-like aura, he might be dismissed as a walking sight gag, but don’t let that fool you. Nolte’s way with a joke is nimble, and his delivery is spot-on.

Terrific and gripping.

It’s rare when a psychological drama gets us into a character’s head without tricks or a voiceover. This drama from Alex Ross Perry burrows so deep that it’s scary.

Jason Schwartzman does the full Bill Murray in 7 Chinese Brothers.

There’s no fleeing the clunkiness in No Escape.

The cool cast includes casual drop-ins from Sam Rockwell, Melanie Lynskey and Sam Elliott. The actors give off the feeling that we’ve wandered into the middle of a conversation among friends. This being a Swanberg movie, that’s kind of what is happening, complete with tiny epiphanies and people you want to hear keep talking.

Hitman: Agent 47 is a by-the-numbers schlock action sequel that writes its own epitaph when a character mutters the dusty insult, “You’re dead, too. You just don’t know it yet.”

Those who came of age during Knievel’s rise, rise and fall will enjoy the fun moments. But this family-sanctioned film comes up short in terms of objectivity.

Director Juan Feldman trusts his actors to charm us, which they do — up to a point. But there’s only so much that can be wrung out of this spinster-meets-exotic stud, “Summertime”-lite affair.

A terrific, quirky New York-set character piece.

This stoners-meet-government-assassins mashup is as meandering and paranoid as a guy toking up in front of City Hall. Sometimes that’s amusing, but most of the time it’s tiring.

Full of smarts, sly insight and New York personality. As a feather in its jaunty hat, the movie also reinvigorates the art of screwball comedy.

Shocking. Horrific. Stunning. The plot twists in Final Girl? No, the fact that the movie itself was even made — and that Abigail Breslin is in it.

It’s slow, lethargic, utterly lacking in charm and undeserving of the Cold War setting that is its best trait.

One of 2015’s dullest.

Someone forgot to put anything fantastic into Fantastic Four.