Bill Goodykoontz

Deadpool 2 is, above all else, a lot of fun. (And yes, you must stay for the post-credit scenes.) Sometimes it maybe doesn’t take itself seriously enough (after about the 50th crack you do kind of want to tell Reynolds to hold off for a minute). But in a genre that takes itself so deadly seriously, this is like a breath of fresh air.

The elements are in place for a decent little movie, but Loach overplays everything, offering nothing in the way of surprises. Bobby’s supposed transformation isn’t particularly revelatory, but then, neither is anything else.

What’s as striking as the violence is Fargeat’s confidence as a filmmaker. She risks absurdity at every turn, fearlessly daring the audience to accept unlikely scenarios. Take that challenge. However difficult “Revenge” may be to watch at times, it’s worth it.

Racer and the Jailbird, the inelegantly translated title of “Le Fidele,” is a first-rate caper movie. It’s also a pretty good romance. And a boring, suffocating melodrama.

It’s a movie devoid of storytelling momentum, conflict and, worst of all, much in the way of laughs.

The best thing about Ghost Stories — and there are a lot of good things — is the confidence of its directors.

Lelio, who also directed the excellent “Gloria” and last year’s Oscar winner for best foreign film, “A Fantastic Woman,” never shortchanges the desire or the faith, a neat balancing act between the competing elements at the heart of Disobedience, and the success of which makes it so compelling and worthwhile.

RBG, Betsy West and Julie Cohen’s engrossing documentary about Ruth Bader Ginsburg, is clearly meant to praise the 85-year-old Supreme Court justice, and it does a fine job of it.

Some surprises are more effective than others. But what holds the film together are a couple of really strong performances by Charlize Theron and Mackenzie Davis. They have a terrific, and unique, chemistry that helps smooth over a few rough patches.

Bad Samaritan is a horrible little movie with two things going for it: one wigged-out performance and one genuinely terrific line that's so great, you want to be able to say that it saves the film.

Both Garrel and Martin are good. And it’s important to note that Hazanavicius is quite adept at the comedic bits, as well as at the occasional more-serious scenes, which deal with the disintegration of the marriage. The problem is his inability to merge the disparate tones.

It’s a promising debut for Böhm, with a lot of promise. But it’s a home run for Powley, who makes Wildling worth watching even when it shouldn’t be.

The Rider is a beautiful movie, a Western of sorts that isn’t limited to that classification as it chronicles the life of a down-on-his-luck cowboy who simply keeps on living, as difficult as that sometimes can be.

Thanos is the most interesting, and most complex, character here.

What really saves Super Troopers 2, to the extent that it even wants to be saved, is how gleefully the Broken Lizard bunch goes about its work.

At the beginning of the film, you want Hong to work through the scenes faster. By the time it’s done, you’ll wish they lasted longer. That’s a kind of magic, too.

At times his film is genuinely absorbing, offering insight into the madness and euphoria of artistic creation, along with the sometimes-crushing doubt. Other times it’s just Armie Hammer sitting there. Nothing horrible about that. Just not great, either.

I Feel Pretty is a good idea that never quite clicks the way it should

It’s a really good film, but it’s certainly not an easy one to watch.

At times the film threatens to become relentlessly bleak, but never fully so, thanks in large part to Plummer’s performance. And cinematographer Magnus Nordenhof Jønck finds beauty in the most desolate places; even flashing police lights set against nightfall are inviting.

Metz does a really nice job of shooting the final match, of ratcheting up the tension. Then again, the five-set marathon does a nice job of that all by itself. Gudnason is good as Borg, but mostly he’s a portrait of tightly coiled silence, occasionally lashing out. LaBeouf is the best thing about the movie.

Aardvark, while it has its moments, never lives up to the potential the cast would suggest.

It’s a lame, scare-free film that wants really badly to work in the vein of “It Follows,” but has none of the intelligence.

Seriously, the movie is pretty awful, but Johnson, as ever, seems to be having a ball, even when he’s all serious and concerned and shot up and beaten up and building-dropped-upon.

There is not a lot more to the story other than the effort to stay quiet and, thus, stay alive. But the pregnancy, along with a couple of other squirm-inducing set pieces, is enough to keep you on edge.

Chappaquiddick is a study of arrogance, of power and influence wielded corruptly to cast facts into doubt.

The Miracle Season is a pleasant surprise, the rare inspirational sports movie that actually earns its tears.

If the cast wasn’t so talented and so committed to doing some heavy lifting, Finding Your Feet would be a gigantic misstep.