Liam Neeson made one of the most interesting career transitions in recent memory when he introduced the role of former government agent Bryan Mills in “Taken.” Before the film, Neeson was an actor best-known for solid dramatic work in pictures that include “Schindler’s List” and “Michael Collins.” But, as Mills, he became an action hero of the Dirty Harry variety, dispensing swift, brutal street justice to the sex-trafficking European thugs who abducted his daughter.

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.

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. 

The plotting of the book and movie centers on Beatrice “Tris” Prior (Shailene Woodley), a teenager who must choose her place in society. In her world, it is customary for youth to be tested for various personality traits, then asked to devote themselves to one of five related factions. When Tris’ test indicates that she could fit into several of these groupings, she is warned to keep quiet. 

Jason Bateman makes his feature film directing debut with an eclectic comedy that scores points for originality despite minor problems with consistency and tone. The movie, written by Andrew Dodge, tells the story of Guy Trilby (Bateman), a jaded 40-something who exploits a technicality in the rules of the Golden Quill national spelling bee and ruthlessly competes against grammar school children. 

Writer-director Jason Reitman (“Juno,” “Up In the Air”) has proven himself an engaging talent with a flair for making movies that are more thought-provoking and off-center than those produced by his famous father, Ivan (“Ghostbusters,” “Stripes”). His latest, “Labor Day,” works both as an unconventional romance and a coming-of-age tale. The plot centers on Henry (Gattlin Griffith) who lives an uneasy life with his severely depressed mother, Adele (Kate Winslet). Henry’s existence is thrown into turmoil when a rough-looking man named Frank (Josh Brolin) approaches him at a department store and “insists” on a ride. 

“Barefoot,” Director Andrew Fleming’s English-language remake of the 2005 German movie “Barfuss,” is an offbeat affair that ranges from endearing and sweet to flat-out creepy. The emotional range is primarily due to the cad-like ways of male lead Jay Wheeler (Scott Speedman). Although Jay was born to a wealthy, Louisiana family, he left his life of privilege to make a mess of himself in Los Angeles. When viewers meet him, he’s deeply in debt to a loan shark and working as a janitor in a psychiatric hospital. 

Film lovers have seen plenty of body-swap comedies over the years, but “The Change-Up” offers a fresh and irreverent take on the genre. The action revolves around the relationship between Dave Lockwood (Jason Bateman) and Mitch Planko (Ryan Reynolds), childhood pals with drastically different approaches to adult life. 

The “Fast and the Furious” movies have never been the benchmark for cinematic quality, but expertly staged action sequences and a likable cast have helped them achieve an impressive box office run. Now a decade old, the series is still relevant and, surprisingly, getting better.