Drew McWeeny

If you’re in the mood to laugh until various parts of you hurt for a multitude of reasons, then I have a feeling Popstar: Never Stop Never Stopping will accomplish the goal. And then some.

Julianne Moore seems to be the one person in the film that truly gets the tone right, playing Havana like a person walking a tightrope over a yawning pit of psychosis, her every emotion bubbling up and threatening to knock her off.

John Wick won't redefine action movies, but it perfectly exemplifies what I want from an action film when I go. Have fun with the world, shoot the action well, motivate it in a way that doesn't feel cheap.

The film is loose and genuine and makes great use of place.

Not only is it uproariously funny and almost breathtakingly dirty, it is better written than it needs to be on a character level, delivering completely on its premise.

Darren Aronofsky's Noah is not just one of the most ambitious films I've seen this year, it's one of the most ambitious films I've ever seen.

If you enjoy thrillers, Flanagan expertly turns the screws here, and Kate Siegel makes a very appealing and capable hero.

Plot is unimportant. Family is everything, and Furious 7 is a blast.

Brutally unfunny, visually off-putting, and filled with cameos so embarrassing I am bruised from holding a cringe for a full half-hour, Zoolander 2 is every horrible decision you can make with a comedy sequel wrapped up into one nigh unbearable film.

Frequently very funny, undeniably aimed at younger audiences, and true to the source material, The Peanuts Movie is too mild-mannered to win over brand new audiences, but it's going to please people who were already fond of the underlying property, and it should be a big nostalgia-driven hit for the studio.

The Book Of Life may play by the rules when it comes to story, but it plays its own game when it comes to how it looks, and in the world of animated family films, that's what really counts.

This is a movie that is almost exhaustingly large-scale, and Ultron's ultimate plan involves a crazy visual idea that Whedon makes sort of beautiful and eerie. It's got so much action that I'm going to bet some audiences go numb after a while. But in scene after scene, there are beats and stunts and poses that suggest that an army of comic book fanatics worked on this movie.

Captain America: The First Avenger is one of the finest movies yet from Marvel Studios, and a big departure in tone and storytelling from most of the films they've made so far. It is a strong indicator that the more willing the studio is to experiment, the more exciting the payoffs can be.

By making this look like the sort of film that studios think of when they think of animation, but subverting the very nature of those movies, Sausage Party is more than funny. It’s downright revolutionary.

This is a film of tactile decadence, such a rich sensory experience that it's almost suffocating.

The Good Dinosaur is fine. I found myself moved by it on a very direct level. Technically speaking, it's a gorgeous film in many ways, but I'm still not a fan of the super-cartoony style of the characters over the photo-realistic world, which is genuinely jaw-dropping.

It is almost preposterous how little "plot" there is in the film...What it has in spades is attitude, and right up until the moment the film began, I was afraid It was going to be so juvenile and filthy that I would end up annoyed by it. Instead, from the very beginning of the opening credits, it is clear that director Tim Miller and screenwriters Rhett Reese and Paul Wernick have crafted something deeply silly that isn't remotely interested in playing by the conventional rules of what we've come to think of as "the superhero genre."

The Dirties feels authentic all the way through, and it carries a bitter punch. It is a slight movie in terms of actual events that happen, but it grapples with some giant ideas and emotions in a very effective way.

With a rich supporting cast, a smart script, and an ensemble that is put through their paces in some intense physical scenes, The Conjuring 2 is that rare horror sequel that stands toe to toe with the original, possibly even improving on it.

I'm giving this an "A" letter grade because I find it utterly absorbing, start to finish. I don't know if I think it's a good film, but it is a powerfully compelling film. Perhaps my favorite kind of strange or insane film is the personal passion project, and "Roar" is one of the most remarkable examples of this.

This may be one of the most subversive blockbusters I can name, and I respect just how raw Francis Lawrence and his team play things. Even the "action" in the film is grim and painful and rarely thrilling.

Wheatley is all about control of tone and how he's using this big obvious metaphor. His film is alive with human behavior, heightened at times and stylized as hell, but alive and identifiable and crackling with a wicked energy.

While there are some very strong performances in the film, the movie is inert, dramatically speaking, and covers such familiar ground that I can't really recommend it.

While there is an untruth at the heart of the film, it's in service of illuminating any number of smaller truths, and I find that approach fascinating.

The film's best moments are those focused on combat, and Ayer does a tremendous job of creating the details of daily life for a combat tank team in the waning days of WWII.

Ant-Man has its own voice, no doubt thanks to all of the talent involved, and it stands as a surprisingly sturdy success for the studio, a delightfully weird little movie that has no business working this well.

The film explores the way propaganda is used to set the stage for a conflict, and considering this is a mainstream franchise aimed primarily at young audiences, it's actually a pretty interesting take on how image matters as much as action in a media age.

The pacing on this one is flaccid, and while I think he has some interesting points to make, the framing device to the film is a total bust.