Molly Eichel

The movie's greatest misstep - other than Dempsey's boring romantic foil - is that, at one point, Bridget flashes back to events from the first movie. It's a reminder of how much fun the first film was, and it'll make you want to run out and watch that rather than the finish the one you bought a ticket for.

It wants to be "Wedding Crashers," but it's not nearly as memorable, smart, or sweet.

The set pieces are fun, if not as spectacular as those in Jon Favreau's adaptation of Kipling's similar "The Jungle Book." And the plot moves at a nice pace.

Like its lead Royalty Hightower, whose performance is just as spectacular as her name, The Fits is impossible to look away from. It's gorgeous, poetic, and opaque, and I've never seen any other movie like it.

While the plot is dumb and the script is worse, watching aliens explode in spectacular fashion isn't the worst excuse to spend to two hours in air-conditioning.

Popstar gets to satirize not just music, but also celebrity culture in a way that a movie such as Spinal Tap never could - because, well, the internet and 24-hours news cycle didn't exist in 1984.

Keanu doesn't go far enough. Key & Peele was searing and incisive about race and American culture, and Keanu doesn't even scratch the surface.

A piece of schlock from Garry Marshall.

It's the living jungle of Kipling's stories that we could once see only in our minds.

It's not great, either, but it is better than mediocre.

The movie pivots from what I expected it to be: a family drama about an outsider, as the opening conversation suggests. Instead, it becomes an eerie mood piece about secrets buried deep in a family's fabric.

Mirren is icy and fierce. Rickman brings both levity and sorrow to his role as a soldier who has seen war from both sides: the conference room and battlefield.

It's a documentary that is ostensibly a profile of a man, but is really about the vibrant city he inhabits, beyond the Hollywood sheen and the grit of Compton.

A running joke about hipster clichés is tiresome, and the movie's plot threads are uneven. But watching Field work her magic is so delightful.

Whiskey Tango Foxtrot isn't a great movie, but it is something rare and important: a woman's story of self-discovery - having nothing to do with her finding a husband - that has gotten room on the big screen.

The Witch is a stressful movie to watch, and that's meant as the highest praise.

For every laugh that Zoolander 2 elicits, there's a pang that all this was funnier the first time around.

The execution may not be there, but at least it has good intentions. Then again, you know what they say about the road to hell.

If you're looking for a reason to watch pretty people and cry, then, by all means, head to the theater. But it pales in comparison to other Sparks works, especially when it gets into medical-ethics territory.

The irony of Anesthesia is that, while it uses interconnectivity as a storytelling mechanism, the characters do not really connect.

Characters are introduced as archetypes to serve as jokes and little more.

It's a sweet, funny comedy starring two of the best and brightest in the game.

Watching people be miserable with each other for the movie's run-time does not always make for a pleasant experience.

Goosebumps fulfills its purpose, and that's what matters.

What makes Drunk Stoned Brilliant Dead feel particularly vibrant is how the Lampoon's specific art direction is put to use.

The plot itself has little momentum, and what should feel dramatic instead feels inert.

The Keeping Room looks at the brutality of humanity.

What could have been an amusing and entertaining zombie flick is, instead, a slog.

Ravi is an affable guide through the world of Indian dating, and Champa and Vasant are adorable and hilarious.

The Second Mother is an interesting look at generational and class divides in Brazil, without the feel of a lecture or lesson.

Moss and Waterston are incredible, and even though Queen of Earth is purposefully not a readily digestible film, they keep it intensely interesting.

Until Steak(R)evolution gets repetitive, it's fascinating to see how everything, from culture to politics, affects what we eat and how we eat it.

There are the bare bones of a plot, but the true purpose of this animated feature is to highlight Gibran's poetic essays, recited sonorously by Liam Neeson.

Like "Compliance," Z for Zachariah shows how terrifying and redeeming interpersonal relationships can be. We crave human contact, yet it can still destroy us, even at the end of the world.

Perhaps it's for the best that We Are Your Friends doesn't try to appeal to anyone outside its stars' own kind. Fewer people will have to see it.

A loving ode to screwball comedies from the Golden Age of Hollywood that never approaches the films it pays homage to.

Comparisons to HBO's "Girls" will abound, but Fort Tilden has a more satirical bent than Lena Dunham's much-talked-about show.

Watching these young men brutalize each other is troubling enough, but perhaps the film's most interesting angle is how the experiment changes more than its subjects.

There's nothing to say that crass can't be funny - and it sometimes is in Daley and Goldstein's iteration - but Vacation loses any of the ooey-gooey, family-friendly heart that made you really want Clark to get to Walley World to begin with.

While Thorpe ostensibly explores the sibilant consonants and careful enunciation that characterize what we have come to think of as "sounding gay," his film is really about his identity.

A mid-point twist is particularly ridiculous, and in an attempt to reconcile this turning point, the final act of the movie becomes a mess.

Eden is the kind of movie that hits you when you least expect it. Just when I thought it was a mess, its aimlessness began to make complete sense.

It's an interesting look at an often glossed-over aspect of the subculture - although the doc sags as it progresses into the mid-1990s and current modes of fashion.

When the films sticks with heart-tugging soldier stuff, it's not bad. When it goes beyond that premise, it becomes so entirely outlandish that it's not enjoyable anymore.

Acts more like a primer for newbies unfamiliar with the show's history, giving no real insight into Lorne Michaels' long-running creation.

Deserves to be considered on its own merits, and while not a masterpiece, it is beautiful, nonetheless.

The sameness of the two movies doesn't make the second feel like a re-tread. If anything, it feels comfortable.

Byrne and Kroll are the reasons to see Adult Beginners. The story itself feels truncated, like there are bits missing that we should see, ambling along.

A small, dreamy romance.