True Story never really soars in the way it might, but the performances more than keep it aloft.

Boseman and Gad are both good. Marshall drinks and smokes and fights in a bar; certainly that's a side of him we haven't seen before. If anything, he's portrayed as a little too good at his job, a risk-taker whose every courtroom hunch pays off. It's an interesting approach to the story, but it also holds the film back a bit.

It's an entertaining film and a deceptively gritty thriller, and Kinnear conveys Mickey's mounting desperation in winning fashion.

There is much to like about Avengers: Age of Ultron. There was much to love about "The Avengers," and therein lies the difference.

It's a little too obvious -- interesting, sometimes kind of fun but, ultimately, not as satisfying as it might have been.

A surprisingly effective horror film, which is to say it’s scary in all the smart ways.

In Wakefield’s mind, naturally, there is no life without him. It’s to Cranston’s credit that, at least for a couple of hours, we’re willing to play along.

Simon Killer is a beautifully made look at ugliness and brutality, the kind of oxymoronic exercise that fascinates some and repels others.

It’s aggressively charming, and competitions and training montages are filmed with kinetic whimsy. The film’s chief triumph is in spinning something remotely thrilling out of something as inherently dull as speed typing.

There is a hollowed-out gravitas to his Getty, the perfect example of someone for whom having almost literally everything is just not enough, and Plummer captures this magnificently. No matter how he got there, it’s impossible now to imagine All the Money in the World without him.

Barber uses various stylistic devices - hand-held cameras, cellphone cameras, etc. - that make a somewhat slow story seem to move at a brisker pace.

Yam Laranas doesn't leave it at that. In his low-budget, creepy thriller, he spells out why and how this particular path is so deadly, as well as what led to the crimes and supernatural horror that seem to frequent the place.

It's not always pretty, and it's not always exciting, but you genuinely don't know from one moment to the next how these characters will behave.

It’s delightful. Director Caroline Vignal infuses the film with just enough whimsy — but not too much. It’s not going to rewrite the rules of cinema or anything, but it’s not trying to.

Perhaps because the bar was set so low, Mother’s Day turns out to be surprisingly watchable.

Again, 155 minutes is a lot of time for throat clearing, but by the time the film is done Villeneuve is hitting his stride. He has created a complex, intriguing world.

You might say the lack of a Hollywood narrative arc is both a strength and a weakness in this film, because Lipitz isn’t entirely clear about what story she is trying to tell.

It’s not the best movie of the summer, not by a long shot, but if there’s such a thing as smarter dumb fun, this is probably it.

One is left wishing a little more time were spent on the clothes and the creative process, but Yves Saint Laurent is still a lovely escape into an elegant, evolving world.

It’s the classic example of the sequel to a really imaginative original: If the first one didn’t exist, this one would seem revolutionary. But the first one does, and Guardians of the Galaxy Vol. 2, for all its charms, will live in its shadow.

If you are a stickler for movies that follow the laws of, say, physics, nature and common sense, The A-Team might not be for you. If, on the other hand, you get a kick out of exchanges like this - "Are they trying to shoot down that other drone?" "No. They're trying to fly that tank" - then you're in for a treat.

Helgeland has given us an impressive introduction to one of the most important men in U.S. history. But you can’t help wanting more.

This is not a movie for the squeamish. It may not be a movie for the non-squeamish either. But it is a movie for those who like to see directors take big swings, seemingly unconcerned if they whiff every now and then.

It's Moore who makes the movie worthwhile, who elevates it from disease-of-the-week fare to the role of a lifetime.

Liev Schreiber is outstanding as the title character, a big lug who can’t stay out of his own way.

For the most part it works, both as a bizarre romance and a fanciful World War II almost-thriller. This is in large part thanks to the cast, particularly Christopher Plummer as Wilhelm.

Most of the complexity in the film comes from its structure, as we go back and forth in time with Bloom. It’s an entertaining journey, especially if you like to listen.

It’s refreshing to see a satire, rather than an hours-long documentary, about a grifter. But, unlike Anna Sorokin and Theranos founder Elizabeth Holmes (her adaptation: “The Dropout,” also on Hulu), who’s been convicted of fraud, the resolution to “Not Okay” is not as absolute.

Jacobs, while making a fairly funny movie, does not settle for easy answers or melodrama.

Yes, in the end, Trance is pretty manipulative. But again, with Boyle behind the camera, it’s a more satisfying experience than it might have been. If we’re going to be manipulated, it might as well be by a master.

Much like "Ant-Man," it's a kind of pressure-relief valve, coasting on Paul Rudd's goofy charm. That's more on display than in the first film; returning director Peyton Reed manages not to shrink Rudd's appeal when he shrinks his character.

It’s predictable. It’s saccharine. It’s silly. It’s also, thanks to the consummate talents of Stamp and Redgrave, occasionally a joy.

Roth's tale is fairly twisty, as the behavior of the women grows increasingly violent and more outrageous. The two are not simply nut jobs; Roth presents them as a form of avenging angels who target philandering husbands. That's an interesting premise, but the movie lacks the depth or layers to make that truly compelling.

What it lacks is magic, or at least a decent amount of it.

Maria rounds out the trilogy of important women in the 20th century in consummate fashion. Lorraín sticks to his melodic style while highlighting an undeniable actress of our time, this time with Angelina Jolie.

The Wind succeeds on two fronts. First, the despair of isolation comes through on nearly every frame, a situation as dire as any demon. Secondly, Lizzy stays steadfast, refusing to succumb even as her husband disappears. That's a credit to the vision of Tammi, who refuses to let the The Wind devolve into a typical, and predictable, horror movie.

Neighbors is not the classic raunchy comedy it wants to be, but it certainly isn't for lack of trying. And when it's funny, it's really funny. Just not as often as one might hope.

Gerard Butler boasts an engaging screen presence that can make even junky movies fun. Maybe it’s the blustery swagger or his jokey attitude that essentially screams, “I’m not taking any of this too seriously.” Either way, it works, especially in Angel Has Fallen.

Director Jamie Payne keeps things moving, certainly, and the action is appropriately gruesome. But you can see where a little more time to tell the story would have helped.

It’s a fun movie, a nicely made Western in which bad guys get to be good guys sometimes. Maybe that should be enough, but you can’t help wanting more.

It's a gorgeously sterile film, fascinating to look at, sometimes painful to watch. The performances are outstanding; yet the actors, including Colin Farrell and Nicole Kidman, are toned down almost comically, often giving robotic line readings to empty bromides.

An unapologetic love letter to the popular board game. It's also almost - but not quite - something more.

This isn’t a great horror movie so much as a fun thrill ride. Bettinelli-Olpin and Gillett know just how to put Weaving’s talents to good use.

The payoffs are worth it — if you’ve got the stomach for them.

This breathless science-fiction thriller isn't just gory. It practically revels in graphic violence, with several scenes shot in excruciating slow motion.

Alexander Payne has a lot of fun — and has some serious things to say — in Downsizing, a film that goes from fascinating to sometimes merely functional, but never truly loses its way.

Overall, Kill the Irishman is an entertaining look at a brutal time in an ugly place.

The beauty of Kurt Warner’s story is that it’s so unlikely it’s nearly impervious to clichés. The strength of American Underdog, Andrew and Jon Erwin’s film about Warner’s life in football and with his wife, Brenda, is that they realize this and let the story speak for itself.

It’s great that Moxie addresses so many issues, but this is a story that might have been told more effectively in a series. Ultimately though, it has powerful moments and it’s hard to complain too much about anything that introduces zines, Bikini Kill and the riot grrrl movement to another generation at a time it really needs it.

The Last Exorcism is a good movie that could have been - SHOULD have been - a great one.

The film, wisely, is built around Hemsworth. He’s good at this kind of thing, and no matter how many throats he slits, you still root for him.

As cultural criticism, this commentary on life in the age of TMZ and the "Real Housewives" is hardly insightful, but it is executed to dizzying, Fellini-esque perfection, a miniature masterpiece amidst more modest amusements.

Abe’s performance is compelling in the way it captures the gap between who Ryota has become and how he wants to see himself, and Japanese screen veteran Kirin Kiki gives a terrifically nuanced turns as his again mother, pulled between the disappointments of the past and a fierce determination to find joy in her present.

If the path seems familiar — hard work and a good attitude triumph over all — it’s because it’s a successful one. Robles is a real-life hero worth rooting for; Jerome makes him relatable and human.

A surprisingly enjoyable movie.

Banks' enthusiasm and respect for the history of this franchise takes it from retrograde to fresh within minutes.

[Renner's] outstanding as a man passionate about his work. His character is not perfect — just ask his wife and children — but he is certainly a good man trying to do good things.

It's true that the language in the film can be harsh -- but it's also very obvious that kids are hearing this kind of language in schools every day, much of it directed at them.

Despite a solid storyline that adds to the series with a lively team of characters, there are parts of the film that could've been better.

“Raiders!” is as sloppy and imperfect as the kids’ shot-for-shot remake, but it has much the same charm.

It’s a slight film, but one that hits all the tricky emotional and comedic notes without a hint of cruelty.

It's a tired genre, one that would be greatly improved if, ironically, far younger actors showed the energy and command these two old hands do.

Even though Trial by Fire is less than a masterpiece, it still came as a gut punch that forced me to examine my own complicated feelings on the issue. In short, it taught me something, and that was a surprise.

Jordan’s tone is consistently drab and morose, which is fitting enough, but the story drags a bit, bouncing back and forth in time in a manner that is sometimes useful, sometimes not. Overall, though, it’s an intriguing addition to the genre.

Todd Strauss-Schulson’s meta send-up of ’80s sex-equals-death slasher movies keeps its goofy good humor throughout, and tosses in a little almost-genuine feeling into the mix for good measure.

The premise wears thin after a while and the humor is hit-and-miss, but when it's on its game The Wedding Video can be laugh-out-loud funny.

Comer makes Margeurite believably vulnerable and strong, haunting at times. But it’s not clear that the film is improved by the competing narratives. Marguerite’s version probably would have sufficed.

It’s weird, sometimes challenging and surprisingly engaging, thanks in large part to Terajima, who is outstanding.

Adult World is a happy surprise.

Despite minor hiccups, it really comes down to an entertaining time with no worries — er, "Hakuna Matata."

I’m not sure there’s a lot more going on here than a) the ultrarich are clueless dolts and b) everyone else will do just about anything to become part of the clueless ultrarich. And it’s all so over the top, that’s all it really needs.

It's oddly emotionally detached, easier to admire than to become involved in.

It does give Cera a chance to play at being a bad boy. But it's just that - playing at it.

Gadot is terrific, capturing perfectly the grace, power and heroism of the Amazonian princess who must make herself present in the world to save it.

The story takes some unexpected turns, which Crowe handles well, without overplaying them. Overall, The Water Diviner is a solid effort, a good, old-fashioned movie when it's not delving into soap opera.

It’s all joyous silliness, as a My Little Pony movie should be, packed with clean humor and pony puns.

It’s a genial, pleasant farce that grows more enjoyable once it calms down and stops being so frantic.

This is a good movie, but it lacks the visual wonder of the first, along with the sense of play at which von Trier, even at his most controversial, is so good.

Last Flag Flying is a movie about a long road trip that sometimes feels like a long road trip — it's sometimes funny, sometimes sad, sometimes poignant, and while the destination is never in doubt, occasionally the company drives you a little crazy.

It's ultimately Parks who carries Tusk, and carries it farther than it should have gone.

Metz does a really nice job of shooting the final match, of ratcheting up the tension. Then again, the five-set marathon does a nice job of that all by itself. Gudnason is good as Borg, but mostly he’s a portrait of tightly coiled silence, occasionally lashing out. LaBeouf is the best thing about the movie.

Instead, the story is largely told from Dahmer’s perspective, and we know too much about where he ends up to feel anything like sympathy for him. It’s still a morbidly fascinating peek behind the blood-stained curtains.

The Angry Black Girl and Her Monster is a horror movie, no doubt. It’s also an intelligent one, with the courage to challenge its audience, to make it see the horrors not just in the monster, but in the societal inequities that ultimately created him. Thankfully, Story isn’t afraid to rework a classic.

It’s an interesting film, no question. But too much of the message gets lost in the medium.

Ortega wants us to see that allure, feel that lust. But to do it, he has to turn fact into fiction.

Tomorrowland may not fully reach the heights for which it strives, but it has a good time trying.

The cast, in particular Macdonald and Everett, rise above. However gritty the film may be, you want the best for these characters.

Plummer’s genuine, heartfelt performance will likely go a long way in humanizing a diagnosis that is often unfairly stigmatized.

It is a smart, well-acted drama, and another chance for Marling to exercise her unique talents, creating intriguing characters on the page and the screen.

You certainly won’t find a lot of films like Sightseers. To call it a dark comedy is to undersell “dark” and oversell “comedy.” A very British affair, it exists to suggest laughter more than induce it.

The film is, like its predecessors, funny. But the joke is starting to wear just a bit thin.

Solid, enjoyable, good, but not great.

Wasikowska is outstanding. She’s got the most-interesting character arc, and she plays Judy at all stages of the story with a genuineness that never wavers, whether it’s as the quiet, put-upon secret weapon of the puppet show or the woman she becomes, which is something far from where she begins.

As a cinematic diatribe set in a stark moral universe, Goldstone comes in loud and clear.

Directors Phil Lord and Chris Miller get nearly everything -- the tone, the self-referential nods to the shoe and the dead-solid-perfect surprises -- just right.

While Drive-Away Dolls is a literal journey, it doesn’t have the sense of reaching its destination in the same way…It’s not a road to nowhere — it’s better than that. But it’s also not the joy ride it could have been.

Asher can move slowly at times, kind of like its main character, but you find yourself rooting for the old guy. You’ll want to stick around to find out if he makes it to the retirement home for hitmen.

It’s not that this slight, good-natured comedy is going to set the world on fire. But the movie boasts an understated sweetness, largely fueled by Camil’s movie-star charms.