Blake Goble

For a 33 years-late follow up to a fan favorite? This isn’t terrible, not even close. Will it split the royal underlings that vaunt Landis’s ’88 effort? Maybe. For now, Coming 2 America deserves to be enjoyed as one of Murphy’s better follow-ups.

MLK/FBI justifies itself as a compelling addendum to King’s legacy, not simply as a heart-rending unveiling of past tragedy and maliciously tarnished greatness.

In a word, Another Round is intoxicating. Vinterberg elevates what could have been a mope-fest with a magnificently defiant tone and a powerhouse performance from Mikkelsen.

There are just enough goodies here for parents and well-prepared kiddies alike. The nifty VFX, performances, and modern updates are what make this remake an easy-enough treat.

Here’s a cocktail so potent that it may just snap even the most tired and cynical viewers out of apathy.

Crass but quick, and agreeably popcorn-y, Unhinged could have gone off in far more risible fashion. Not quite a gas, but without crashing and burning entirely, Unhinged gets where it needs to go and fast.

Skin certainly has its blemishes, but it’s occasionally excited and secure in its willingness to build an off-the-cuff alt history for an under-discussed facet of filmmaking.

Yes, Irresistible is a farce about political theater, and an often painfully funny one, but it’s also a deeply unnerving manifesto on the pundit economy, campaign financing, and the narcissism, ego, and collective amnesia it all fosters.

The slow build of Da 5 Bloods leads to as powerful a finale as any you’ll find in Lee’s arsenal. And it’s one that should hit rather hard as it arrives in the middle of a summer where race will be discussed at volumes.

Patton tells a tighter, less well-heard, and necessary tale of being gay in an era where that could still destroy a career (which to be frank, is still an issue that should be better addressed…), nestled carefully within a re-read of an oft-maligned horror sequel. He’s a deeply appealing subject.

Even if the message is clear, and the vibe can be a little movie-of-the-week, The Way Back does find an interesting set of ways to present itself.

This is a comic book movie that feels adapted from a bunch of Bazooka Joe strips rubber-banded together. It’s a big ball of candy, mushed together and flung at the wall, and we’re all invited to happily take a bite out of crime.

As a political or journalistic statement, Richard Jewell does have the unfortunate tendency to come across like a rant. But that does not greatly detract from the film’s rich biography of Jewell: Here’s a man that was perhaps doomed to be part of an inquisition.

It’s got twists without being tawdry. Attitude, with sincerity. And Banks offers a reasonable rebuke to past ickiness, playing up the best elements of an old TV show’s original idea. Charlie’s Angels 2019 flies in the face of its tricky franchise past, and makes for a solid evening’s entertainment.

Galifianakis delivers a reminder of just what makes his brand of comedy so unique, special, and even a little daring.

At its most basic, this is a conventional talkie, rooted in Warner Bros crime history, happy to play with cliché. At its most audacious, The Kitchen is a welcome flip on the generally male-dominated script. And at its most pleasing, this is a popcorn flick, with big moments, great pops, and three stars giving it their all, having one out in the street, making big moves for the people.

The Nightingale has a torn – and riveting – conscience.

It’s Hollyweird love letter material, but it’s glittered with Tarantino’s signature wise-ass attitude. Here he’s part historian, and part aging, experimental auteur.

As a narrative, Point Blank’s like a screenplay slammed to the ground, shot repeatedly, and re-assembled with scotch tape and vending machine stickers (likely White Snake band logo iron-ons). It’s flashy. As far as action flicks go, Point Blank’s cool with its low IQ because it’s having fun throwing ‘bows to loud music. It knows what it is.

You know the formula and frankly, it’s one of the best-working ones Hollywood still has: a fun-for-the-whole-family film. In a current market crowded with franchises and pricey theatrics, Toy Story 4 feels like a warm and welcome aside, spinning an epic yarn from an intimate vantage with all the amenities of Pixar’s supremely talented creators and animators.

Even if Rocketman is one of those films where you walk in knowing almost exactly what to expect, it still manages to wham, glam, and occasionally elate.

Running the gamut from grotesque to goofy to genuinely scary, Alison Klayman has assembled a compelling and tight look into the inner workings of modern politics in the Trumpian key.

The Inventor: Out for Blood in Silicon Valley offers tidy, compelling, and continued proof of Gibney’s skills in the art of delineation.

Transit is a walkabout potobiler that ruminates more often than it feels compelled to run. It’s brutal, stark, dry, compelling, rich, and all the other drastic hyperbole that one can only bestow upon a genre-bending experiment like this one.

Even if the run-up takes its time, DeBlois sticks the landing – for this film, for his trilogy – and makes something that feels a bit more knowing in its themes: Life goes on, protect the ones you love, and enjoy the world we all share. There are far greater crimes children’s films can commit than positive messaging.

The Kid Who Would Be King is a reliable family film, and Cornish polishes old tropes with fresh eyes and a sense of clever imagination.

One critic’s ‘too much’ may be another’s ‘so much to unpack’. But that’s the thing. The style, the lament, the punchy rhythm and breathless momentum of The Other Side may be hefty, but it certainly makes a dent.

When Neville chronicles the failed work of Orson Welles, They’ll Love Me When I’m Dead comes alive with newsreel tabloid verve.