Kevin P. Sullivan

The film’s main conflict is with its source material, twisting and wringing Milne’s life for everything it’s worth and hoping enough is squeezed out to qualify as a film.

The wild night eventually turns downright rabid, but ­Pattinson anchors Good Time, completely selling Connie from the moment he bursts into the frame and delivering the best performance of his career.

King Arthur could have been a rollicking blast. Instead it’s just another wannabe blockbuster with too much flash and not enough soul.

Gross-outs and gotchas are fun, but they wouldn’t amount to much if Covenant wasn’t so thoroughly well-crafted.

There isn’t much room for nuance in his script, and the movie’s darkness (literally: too many poorly lit nighttime scenes are more heard than seen) undermines its message. But there’s something powerful even in its predictability.

The film’s overall effect lets the person — not the condition — be the real story, one that’s worth sharing.

So suspenseful, sexy, and surprising that it would be a shame to say any more.

Tower allies itself with the heroes on the ground and the immeasurable courage they displayed, risking everything for the sake of strangers. That’s a story worth telling, one worth remembering, and what makes Tower a must-see.

Voyage of Time is a beautiful diversion, but almost entirely empty, even in its inquisitive big swings for profundity.

What you end up with are portraits of individuals — people who are scared or angry or ambitious — all a part of a story that, from the start, ignored their humanity.

Its tired indie trappings (arrested development, dull cynicism) turn the film into its own kind of marathon.

Blair Witch is the Hollywoodication of a film that defied the industry, and it works because of the profound respect for the original that hides beneath camera work that’s too good and a cast that’s too attractive.

The script contains some genuinely uproarious laughs and is sharper than it needs to be, even if some of the jokes feel as old as Bridget’s condoms.

Unless you’re Kevin Smith, don’t expect Yoga Hosers to be funny or clever or well directed. It isn’t for you.

Tears are shed. Laughs are had. Some jokes land better than others. The script wobbles between heavy-handed and touching, but the result is a pleasantly nostalgic throwback that’s saved from its copy-cat tendencies by charismatic actors.

Jake and Tony’s journey through early teendom never feels empty.

This is a film about young people with a youthful energy and sense of fun that’s refreshing, especially in the summer of movies we’ve had so far. The tone and relatively low stakes allows Nerve to be shallow, divertive escapism—kind of like Snapchat.

The dialogue, most of which is stilted philosophy about femininity and beauty, sounds like something your freshman-year roommate said and you learned to ignore.

What Gervais may have previously turned into a pointed satire of the news media instead becomes a flimsy farce that’s surprisingly low on laughs.

Essentially shapeless and paced like the tide rolling in, Knight of Cups should be reserved for hardcore Malick fans only, those who have the patience to metaphorically wade through the literal wading, which there happens to be a lot of in this movie.

The narrative sparseness of Theeb does not also apply to its cinematic virtues, which offer plenty for audiences to chew on, whether they’re looking for a non-traditional western adventure or trying to win their office Oscar pool.

The result is expectedly harrowing and heartbreaking, making for a difficult watch that will reward those with saintly patience.

There’s a real story of American heroism somewhere in here, but it’s diluted by Bay’s worst tendencies.

Ride Along 2, which moves the action from Atlanta to Miami, plays more like a remake than a sequel.

The film’s saving grace is Hardy, who is as ferocious and watchable as ever, acting smooth and brooding as Reggie and unhinged as Ronnie.

It’s a never-boring trip to a world, where stories and imagination are powerful tools, that just might inspire kids to do the scariest thing of all: pick up a book

Left without a gimmick, The Scorch Trials wanders between YA cliches — there’s a Resistance, but it’s unclear what they’re resisting — and zombie movie tropes, with the obligatory a zombie bit our friend scene.

In its current form as a documentary, Meet the Patels is a charming and moderately enlightening examination of what happens when an American-raised man recovering from a bad breakup attempts to find a wife through the kind of arranged marriage that has kept his parents blissful for decades.