| LAT | RTMC | RTC | ||
| documentary | ||||
| No No: A Dockumentary | yes | 100 | 100 | an engaging portrait of Dock Ellis |
| Levitated Mass | yes | 100 | revisits dramatic pull of LACMA's rock star | |
| Filmage: The Story of Descendents/All | yes | 100 | [an] exhilarating and curiously moving punk documentary | |
| Awake: The Life of Yogananda | yes | 100 | a vivid, elegantly assembled portrait of the savvy guru | |
| 20,000 Days on Earth | yes | 97 | 94 | a genuine fake documentary, or a fake genuine one |
| Last Days in Vietnam | yes | 96 | 100 | a thrilling recount of the fall of Saigon |
| Keep On Keepin' On | yes | 95 | 91 | pays homage to jazz trumpeter and mentor Clark Terry |
| Watchers of the Sky | yes | 93 | 100 | a powerful warning about genocide |
| Private Violence | yes | 89 | Brisk and disturbing, an eye-opener on domestic violence | |
| Expedition to the End of the World | yes | 82 | 91 | agreeably meditative, beautifully shot |
| I Am Eleven | yes | 81 | 78 | an enjoyable portrait of kids on cusp of adolescence |
| The Green Prince | yes | 78 | 76 | *a real-world spy thriller |
| Björk: Biophilia Live | yes | 74 | captures a multimedia extravaganza | |
| Pump | yes | 71 | 80 | exhaustively researched, interviewed and documented |
| Algorithms | yes | 50 | sheds light on blind teen chess players | |
| Pay 2 Play | yes | researched, sourced and interviewed exhaustively | ||
| Print the Legend | yes | achieve[s] the fairness and balance so rarely seen in documentaries | ||
| Born to Fly: Elizabeth Streb vs. Gravity | yes | captures the Extreme Action Company | ||
| Giuseppe Makes a Movie | yes | an oddly compelling look at odd auteur | ||
| Evolution of a Criminal | so-so | 100 | often-intriguing if not completely absorbing | |
| Advanced Style | so-so | 89 | 86 | Women age 50-plus display winning senses |
| Altina | so-so | 86 | absorbing ... until the film loses momentum | |
| Take Me to the River | so-so | 71 | 67 | explores Memphis' musical genres |
| I Am Ali | so-so | 42 | 50 | the umpteenth portrait of a living legend |
| Meet the Mormons | so-so | 11 | shows diverse lives, to a point | |
| Smiling Through the Apocalypse: Esquire in the 60s | so-so | loosely organized | ||
| Art and Craft | no | 88 | 75 | portrait of art imitator seems exploitative |
| The Decent One | no | 67 | 60 | traces grim history of Nazi Himmler |
| Second Opinion: Laetrile at Sloan-Kettering | no | 58 | 40 | a one-sided tale |
| Kabbalah Me | no | 40 | elusive ... far too airy-fairy or amorphous | |
| Culture High | no | lights up familiar pro-pot positions | ||
| America the Beautiful 3 | no | feels staged, just like reality television | ||
| animated | ||||
| The Tale of the Princess Kaguya | yes | 100 | 100 | *a marvel of Japanese animation |
| Rocks in My Pockets | so-so | 100 | 100 | Unfortunately, Baumane's narration greatly weakens "Rocks in My Pockets. |
| The Boxtrolls | so-so | 74 | 66 | an unwieldy story that reels wildly around a series of complicated issues |
| Jack and the Cuckoo-Clock Heart | so-so | 70 | handsome, imaginative visuals | |
| Henry & Me | so-so | so well-intentioned, you wish the film were better | ||
| Book of Life | no | 80 | 81 | Too much and too little in overwrought, Mexican-themed |
| Thunder and the House of Magic | no | 70 | 71 | full of worn-out tricks |
| regular movies | ||||
| A Picture of You | yes | 100 | 100 | fluctuates between tender memories and giddy slapstick |
| Starred Up | yes | 99 | 100 | *ferocious, unnerving violence ... intensely dramatic |
| Whiplash | yes | 97 | 96 | *exquisite and painful, hits all the right notes |
| Housebound | yes | 95 | 100 | *a satisfying horror-comedy spookfest |
| Pride | yes | 94 | 97 | *the bitter 1984-85 miners' strike in Britain |
| Birdman | yes | 94 | 93 | *soars feathered and unfettered |
| The Guest | yes | 91 | 96 | *tough, fun thriller |
| Dear White People | yes | 91 | 88 | *makes you laugh at things that make you furious |
| Wetlands | yes | 90 | 88 | [an] unrepentantly vulgar and captivating German coming-of-age film |
| Gone Girl | yes | 88 | 81 | *finds David Fincher at delightfully twisted best |
| The Skeleton Twins | yes | 87 | 85 | Deftly weaving humor and sweetness in with the pathos |
| Dead Snow 2: Red vs. Dead | yes | 83 | 88 | *gorges on its own nuttiness |
| Tracks | yes | 81 | 77 | vividly captures true story of woman's desert trek |
| The Two Faces of January | yes | 81 | 71 | *a twisted tale driven by talented trio |
| Fort Bliss | yes | 80 | 80 | a taut character study of female soldier in crisis |
| Fury | yes | 78 | 70 | *treads on war movie expectations |
| Kill the Messenger | yes | 76 | 72 | a pulpy, energetic, fast-moving and entertaining tale |
| St. Vincent | yes | 75 | 68 | *Bill Murray: Soaked in whiskey, dipped in brine |
| Felony | yes | 75 | 63 | *Moral ambiguity fuels low-key intensity of police drama |
| Hollidaysburg | yes | 75 | hits all the right humor buttons | |
| God Help the Girl | yes | 69 | 61 | a lively, playful, self-aware musical |
| Jimi: All Is By My Side | yes | 68 | 69 | *moody, mesmerizing film one bit |
| Bird People | yes | 58 | 60 | an eccentric delight |
| Inner Demons | yes | 56 | Drugs and the devil spice up | |
| The Houses October Built | yes | 50 | one of the more successful attempts at the found-footage horror flick | |
| Life's a Breeze | yes | 44 | a small film with a considerable amount of charm | |
| This Is Where I Leave You | yes | 42 | 33 | a fractious family affair |
| You're Not You | yes | 31 | 13 | another way to bring attention to ALS |
| Dracula Untold | yes | 24 | 10 | proves an absorbing, swiftly comprehensive origin tale |
| Brush With Danger | yes | 20 | vibrantly shot, East-meets-West fusion of Wushu and Washington | |
| Plastic | yes | 12 | 29 | guilty pleasure of a crime thriller |
| No Good Deed | yes | 11 | 15 | It’s a little dumb (OK, maybe more than a little), but... |
| Jason Nash Is Married | yes | fun ... explores love and showbiz | ||
| The Frontier | yes | *covers unexpected ground in a refreshing way | ||
| Field of Lost Shoes | yes | *impressively rendered if decidedly old-fashioned | ||
| Life Inside Out | yes | gentle, poignant; heart and head squarely in the right place | ||
| Honeymoon | so-so | 77 | 83 | a steady dose of newlywed nightmare |
| Kelly & Cal | so-so | 74 | 73 | a solid but overreaching tale of outsiders |
| The Judge | so-so | 47 | 53 | Duvall & Downey: Yes. Film: ? |
| Catch Hell | so-so | 0 | There's more than a dollop of "Deliverance" | |
| We Are Kings | so-so | has heart of blues but misses art of filmmaking | ||
| Canopy | no | 74 | 60 | is ultimately upended by its minimalist conceit |
| Dolphin Tale 2 | no | 69 | 70 | needs a rescue of its own |
| Memphis | no | 68 | 62 | another white dude's mythical vision of the South |
| The Golden Era | no | 67 | a Chinese 'Reds'-like tale ... on a slow simmer | |
| Walk Among the Tombstones | no | 66 | 59 | runs right into torture porn zone |
| Space Station 76 | no | 65 | 43 | roams pointlessly |
| Fishing Without Nets | no | 64 | 75 | fails to catch interest |
| Alexander and the Terrible, Horrible, No Good, Very Bad Day | no | 64 | 70 | Alexander's' day isn't so terrible, film isn't so great |
| The Maze Runner | no | 63 | 61 | It's basically a set-up for Part 2. Yawn. |
| Rudderless | no | 63 | 50 | a sluggishly paced melodrama |
| The Disappearance of Eleanor Rigby | no | 62 | 62 | lacks depth |
| The Rule | no | 60 | 60 | feels like recruitment video for New Jersey prep school |
| My Old Lady | no | 58 | 44 | doesn't live up to the expectations its elements create |
| #Stuck | no | 57 | remains stuck in neutral with no place to go | |
| Frontera | no | 54 | 58 | like the trip itself, the film is fraught |
| Zero Theorem | no | 52 | 38 | adds up to almost nothing |
| The Pirates | no | 50 | 40 | follows Hollywood formula |
| Tusk | no | 40 | 26 | a misfire of literally gross proportions |
| Autumn Blood | no | 40 | sheds gratuitous violence | |
| Young Ones | no | 38 | 40 | wastes intriguing dire-future premise |
| Hector and the Search for Happiness | no | 36 | 21 | not a blissful encounter |
| Last Weekend | no | 33 | 30 | is too placid on surface and below it |
| Automata | no | 33 | 10 | appears to be on automatic pilot |
| The Scribbler | no | 33 | indecipherable ... goes nowhere | |
| The Song | no | 33 | a well-worn, one-note story | |
| Two Night Stand | no | 32 | 25 | a one-act sex comedy that grows cold too soon |
| At the Devil's Door | no | 24 | 20 | builds up to horror but never gets inside |
| Swearnet: The Movie | no | 20 | 20 | F-bomb-filled; loses steam after awhile |
| Innocence | no | 14 | 18 | is as predictable as it is dull |
| Good People | no | 12 | 0 | a preposterous crime thriller |
| Longest Week | no | 11 | 17 | oblivious ... quickly wears out its welcome |
| The Best of Me | no | 10 | 5 | ridden by romantic clichés |
| Addicted | no | 8 | 0 | Preposterous. Skin and sex can't sell it |
| The Identical | no | 7 | 5 | ultimately too schematically sentimental |
| Kite | no | 0 | 0 | Samuel L. Jackson's umpteenth phoned-in badass |
| But Always | no | 0 | turns romance into a syrupy mess | |
| 108 Stitches | no | strikes out in nearly every way possible | ||
| Reclaim | no | tosses away all credibility | ||
| Iceman | no | Simultaneously overblown and underdeveloped | ||
| Christmas Ride | no | so inept on every level that it almost has to be seen to be believed | ||
| Tazza: The Hidden Card | no | more tedious than fun | ||
| Swim Little Fish Swim | no | drowns in tired take on 'artistes' | ||
| Bridge and Tunnel | no | leads nowhere | ||
| Guardian Angel | no | takes on a few too many sins | ||
| Default | no | a hostage thriller that demands little attention |