Clint Worthington

When it comes down to it, Baywatch’s central sin is that it’s just…not funny.

Get Me Roger Stone offers its audience an unblinking, if disappointingly straightforward, look at the infamous operator.

Liman is no stranger to tense, effective thrillers – his last outing was the criminally undervalued Edge of Tomorrow – and on that level, The Wall surprisingly works.

Unfortunately, what The Belko Experiment delivers in face-twisting gore and deliciously taut suspense, it lacks in insight.

For Yimou’s colors alone, and one particularly striking set piece set in a kaleidoscopic stained-glass tower, The Great Wall may be worth the price of admission.

As with Collateral Beauty, Loeb piles on the ridiculous narrative twists to eye-rolling effect. The last twenty minutes of The Space Between Us are a rollercoaster ride of changing motivations, baffling character reveals, and overblown dramatic gestures that completely defy belief.

If you’re looking for a reinvention of the biopic formula, there are plenty of films this season to set you up. If you think there’s still room for the traditional ‘true-story’ drama, Lion proves these stories still have a little life left in them.

Always Shine is a fantastic thriller for two-thirds of its runtime, ending with a ballsy third act as admirable in its ambition as it is narratively frustrating.

Inferno, much like its predecessors, simply can’t work its way out of the disappointing middle ground between a slick, technically competent thriller and tongue-in-cheek absurdity.

It’s two solid hours of disposable, forgettable action-thriller filmmaking with a competent Cruise performance in the middle.

The chief appeal of Gans’ Beauty and the Beast is its sumptuous, ornate production and costume design, and the flamboyant glee with which Gans’ camera captures it all.

If you want to see a nuts-and-bolts look into the banality of evil, with a curiously strong Daniel Radcliffe performance at the center, Imperium fits the bill.

Nerve is refreshing and frustrating in equal measures, mining a genuinely inventive concept for some memorable, Mean Girls-esque pathos about the ways in which the Internet is changing and magnifying social structures for young people today.

Star Trek Beyond is a vast improvement from the sloppy Into Darkness, bringing it on par with the excellent ’09 reboot in terms of sheer quality and chemistry.

It’s a frustrating experience; a lot of the individual gags work quite well, but they never build to anything cohesive.

Tarzan is too dull to offer consistent pulp excitement, too self-serious to let itself have fun, and too reliant on same-y CG spectacle to truly thrill.

On top of trying to be a Big, Important Film, Jones is also meant to be a showcase for McConaughey’s post-Oscar relevance as a dramatic actor, and he turns in a solid but unmemorable lead performance.

There are some marginal but still noticeable stylistic improvements in the sequel. John M. Chu (a veteran of music videos and Justin Bieber: Never Say Never) brings a peppy energy that Louis Leterrier’s first film lacked, especially when showing off the flashy spectacle of the Horsemen’s almost-superheroic magic abilities.

Nuts! manages to create a fascinating, thrilling portrait of the weirdness of industrial-age America that’s as side-splitting as it is deeply haunting.

The combination of Schoenaerts’ intensely brutish, sensitive performance and Winocour’s singular dedication to tension gives Disorder plenty to offer.

The direction and editing are slick and workmanlike, letting the performers do the work without overplaying the limited setting in which most of the film takes place.

Keanu gets a lot of things right, and almost just as many things wrong. Still, there’s absolutely enough here to make it worthwhile, especially if you’re a Key and Peele fan.

My Big Fat Greek Wedding 2 is about as unmemorable a movie as you’ll find in 2016. Everything about it, from Vardalos’ screenplay to the limp retreads of the first Greek Wedding’s better moments, stinks of an extended HBO special that somehow made its way to theaters.

There are plenty of fantastic films with Christian messages, but Miracles From Heaven is more interested in simplistic proselytizing to a heavily evangelical market that just wants their own existing beliefs confirmed. This is what makes the film so frustrating to watch; for the vast majority of its runtime, it’s essentially a good (if not great) family drama.

Gods of Egypt is a dull, meandering, plastic mess of pre-2002 CGI and performances as flat as the green screens behind them.

For a film that hinges so much on the chemistry and charm of its two leads, it’s tough to recommend The Choice on even those grounds.

While Plummer tries his damnedest to anchor Remember in the high drama to which it aspires, Egoyan’s latest is best forgotten.

Whatever you think about Adam Sandler right now, The Ridiculous 6 won’t change your mind. If you love him, you’ll love this; if you hate him, you’ll get plenty of ammo here.