Keanu Reeves has always had a limited range, but he’s solid when tapped for the right role, and he’s particularly good with action. “John Wick” plays to the actor’s strengths, giving him a part that requires both impressive athleticism and old-fashioned movie star charisma. The film focuses on its title character (Reeves), a former assassin who retired to a more peaceful existence after finding the love of his life.

Robert Duvall has again entered the Oscars race thanks to his portrayal of a grumpy-but-fair-minded legal professional in “The Judge.” The movie features Robert Downey Jr. as Hank Palmer, a flashy, big-city defense attorney who returns to his tiny, Indiana hometown for his mother’s funeral. Director David Dobkin wastes no time establishing that Hank and his father, Joseph (Duvall), have unresolved problems. The latter is a no-nonsense judge known for dispensing firm rulings.

In her screenwriting and directorial debut, Desiree Akhavan’s Appropriate Behavior is engrossing, provocative, and entirely inappropriate. Laced with Akhavan’s unquestionable flare for frames and motion (or lack thereof), the film explores the depths of sexuality within a cultural context, posing realities that are heartbreakingly honest and widely unexplored, often at the same time.  

Laika, the studio that brought us “ParaNorman” and “Coraline,” continues its outstanding theatrical work with “The Boxtrolls,” an animated feature based on the Alan Snow novel “Here Be Monsters!” The stop-motion project, which is nominated for best animated movie at the Academy Awards, is set in the fictionalized town of Cheesebridge during the Victorian era.

In Playing Dead, Jean Renault is a recent unemployed actor—he has a reputation for being high maintenance and unpleasant to work with on set. After meeting with his agent, he is given the opportunity to re-enact murders for law enforcement. And so, Jean finds himself in Megeve, in the Alps, playing dead for the murders of the Beauchatel brothers.

Few directors match David Fincher in terms of filmmaking prowess. He is known as a perfectionist, and his work ethic results in exciting films that drip with atmosphere and often take viewers by surprise. From that standpoint, “Gone Girl” is a quintessential Fincher project. Based on the bestselling 2012 novel by Gillian Flynn, the movie focuses on Nick Dunne (Ben Affleck), an average guy who is thrown into the spotlight when his semi-famous wife, Amy (Rosamund Pike), goes missing. 

As we march into the new year and prepare ourselves for upcoming awards shows, it’s appropriate to reflect on the best movies of 2014. As usual, the year produced sure bets from well-known auteurs and a strong crop of art-house darlings, but we also had terrific pictures emerge from the much-derided cinematic mainstream. In fact, a number of blockbusters cracked my top 10 list.

Look beyond the production hype, the five Golden Globe nominations and the appearances on numerous top-10 film lists, and one finds an intimate relationship drama that follows a boy and girl from childhood to young adulthood. The primary focus is on Mason (Ellar Coltrane), but the movie also looks at the most important people in Mason’s life. They include his sister, Samantha (Lerelei Linklater, the director’s daughter); their mother, Olivia (Patricia Arquette); and his father, Mason Sr. (Ethan Hawke). 

There’s nothing inventive about director Antoine Fuqua’s big-screen adaptation of the 1980s TV drama “The Equalizer,” but it is plenty entertaining. Most of the credit goes to Denzel Washington, an actor who can take any role to unexpected heights. In “The Equalizer,” he plays Robert McCall, a former special-forces officer who has retired to a quiet life working at a retail store. 

Villainous women have existed in fiction for as long as there's been fiction, though they often fall into types: mean girls, evil queens, harping wives, revenging mistresses. Often, they all share one quality: they are unsympathetic. This is not a sweeping statement across the board, of course, and characters intended to be unsympathetic can be read sympathetically by certain audiences. However, female characters of questionable morality are not always granted the automatic sympathy of a lot of their male counterparts. Men can be antiheroes; women often aren't allowed that luxury.