Mike Scott

Josh Safdie and Ronald Bronstein's story has no apparent qualms with throwing various far-fetched twists at its audience, but the film's overall tone -- which is rooted in a sobering reality, as opposed to the glorified outlook of so many other crime dramas -- lends it a sense of thoughtfulness and emotional resonance.

It works well as a just-for-fun exercise that benefits from a nice sense of rhythm, a great cast and an overall sense of light-heartedness.

Once it gets going, it boasts a steady intensity and unflagging momentum. That's complemented by a pervasive creepiness that can be counted on to keep audiences laughing nervously through their fear.

The bottom line is that, while Kidnap isn't without its hiccups, it's another fun bit of Berry badassery -- and certainly better than the film's rocky history to this point might suggest.

Far more often than not, Lee's talented ensemble -- who really do look like they're having a blast together -- generate more laugh-out-loud moments than lulls, all of which help make Girls Trip work nicely as a mood-elevating mid-summer diversion.

It is engaging, it is intense, it is beautifully shot and it thrusts viewers credibly into the horrifying action from the very first frame -- and doesn't relent until the very last. This being Nolan, he also overcomplicates what is essentially a fairly simple story.

It does double duty, working equally well as a superhero movie and as a teen comedy.

There's little refreshing or charming about it.

Certainly one of the more engaging and alluring films released so far in 2017.

A subtly innovative blend of cars, guns, music and old-school cool, it's also one of those increasingly rare creatures in Hollywood: an undeniably original movie.

That's no small thing: to leave viewers with unanswered questions but still make them satisfied they've gotten a full movie experience. But there it is.

The core of The Mummy is built around a mostly fun, fast-moving vibe, while its malformed midsection seeks to undermine anything good it has accomplished.

An undeniable charm emerges in writer-director Azazel Jacobs' film. And so, rather than being anywhere near as smothering as it sounds, it all springs appealingly to life.

Thanks to Gere -- and occasional flashes of gaudy but well-deployed visual style from Cedar -- those contrivances never threaten to overtake the rest of the film.

As with everything in which he appears, Schreiber is one of the best things about the movie.

Like everything else associated with it, the drama of Graduation is decidedly low-key. While that occasionally costs it a sense of forward momentum, it doesn't hold the film back from its ultimate goals. In fact, it contributes to it in some ways.

A very human story and a very well-told one -- which, in the end, makes it very hard to forget.

An adventure -- a wonderful, old-school adventure, the likes of which we don't see enough of any more. Lost cities notwithstanding, that makes it a kind of treasure all its own.

The wholesomeness and embraceable spirit of Their Finest will likely strike a chord with the sort of moviegoer who is drawn to such a film. But that doesn't mean it's as good a film as it could have been.

Free Fire frequently becomes a messy blur of ricochets and one-liners. Fortunately, the cast is appealing enough -- and the characters interesting enough -- to use those one-liners to maximum effect, thus holding things together reasonably well.

Against all odds, Gifted nicely accomplishes what it sets out to do.

"Fast and Furious" movies are supposed to be unchallenging, but Fate of the Furious is full-on brain-dead.

"The Lost Village" is pure Saturday-morning stuff. And that's both a good thing and a bad thing.

So, yes, Land of Mine is a World War II movie -- but it's not likely a World War II movie you've seen before.

It is a reasonably clever, fairly high-concept 'toon that boasts a satisfying emotional component.

If nothing else, the dramatic comedy The Last Word provides one thing: It gives Shirley MacLaine a great role in which to sink her teeth. That turns out to be a gift not only to the Hollywood veteran but to audiences as well.

It's more than a little ironic, then, that the one thing missing from director Craig Robinson's often-amusing, frequently episodic film is just that: a resonant emotional core.

As she tells that story, Asante gets a little lost in the weeds here and there in the political machinations, which don't always make for a riveting narrative and tends to slow the film's forward momentum. Even as it does, the love story between Seretse and Ruth serves nicely as the film's foundation.