Can we ever get innocence back once it's lost? The ending suggests that we can. But at enormous cost.

It's also perfectly content to be an insanely violent, funny take on an established genre. And in that respect, Kick-Ass lives up to its name.

As an analysis of the causes of migration, it is one-dimensional and unconvincing. But as a social history of Latinos in America, it is provocative and fascinating. And as an indictment of decades of economic injustice and covert military action committed in the name of freedom, it is devastating.

Dumb Money isn’t a documentary, and it’s not a go-to guide for beginning investors. It’s not trying to be. It’s trying to be something a little less weighty and a lot more fun than that, and it succeeds.

Visually beautiful — stunning, in places — but somewhat stale in story, director Peter Sohn’s feature debut will certainly charm young audiences, and there is some nicely bracing grown-up material: love and death, the whole deal.

The true story, along with Boyega’s amazing performance, prop up what would otherwise be a lackluster thriller. From the trailer, I expected to like it a lot more than I did, but it doesn't do Brown-Easley's story the justice it deserves.

Maybe Pavarotti would be even more compelling if Howard had delved deeper into the contradictions and controversies. But the director does achieve the first goal on entertainment: Always leave them wanting more.

For fantasy fans who have dreamed all their lives of spending time inside Tolkien’s dazzling alternative reality, it’s a ride well worth taking.

Shot in verite style with handheld cameras and rule-breaking quick cuts, Cahill's film moves slowly between moments of heartache and quiet beauty.

Hill isn’t offering a sociological treatise. Mid90s is all about lived experience. It’s about a place and a time and offers little inkling of its characters’ futures.

Watching Garfield swinging through New York or toying with criminals after he captures them is reason enough to welcome another telling of the tale.

The film is a live-action cartoon down to its main character's name -- Wilee, "like the coyote." It's just a few sticks of dynamite and a 10-ton anvil short of going full Looney Tunes, and is all the worse for that restraint.

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.

An unruly mix of science, morality, family dysfunction, horror and finger-down-the-throat gross-out ridiculousness.

It's never less than edge-of-your-seat fun.

The One I Love is an odd, unsettling and ultimately satisfying movie.

Erivo captures both Tubman’s defiance and her headstrong courage. But the film overall feels too conventional. It simply cannot fully capture the inspiring story of Tubman’s incredible life. Then again, what could?

More brains and less brawn probably isn’t a prescription for box-office success for a movie like this. But it’s a movie I’d rather see.

It’s all quite intricate and entertaining and terrific to look at. The “Fantastic” of the title might be stretching things a bit, but it doesn’t miss the mark by much. Better still, it makes you look forward to, and not dread, the next installment — and that’s real magic.

Obama is so smart and insightful, even in response to the canned and near-sycophantic questions during the question-and-answer sessions on stage, that it makes you yearn for a real interview, a tougher documentary, one that trusts both Obama and the audience more.

Elio is a good summer movie of intergalactic fun. It just plays it safe.

Part of the fun of watching Mountainhead, the entertaining first feature film from “Succession” creator Jesse Armstrong, is marveling at the antics of the tech bros who already run a good chunk of the world, and want to run more. Part of the horror is how realistic it all seems. Part of the disappointment is how far it falls into “Three Stooges”-level farce.

Deadpool 2 is, above all else, a lot of fun. (And yes, you must stay for the post-credit scenes.) Sometimes it maybe doesn’t take itself seriously enough (after about the 50th crack you do kind of want to tell Reynolds to hold off for a minute). But in a genre that takes itself so deadly seriously, this is like a breath of fresh air.

Puzzle just kind of chugs along at its own pace, one of those small movies that packs a bigger punch, one in which, sorry, all the pieces fit.

Thanks to Cranston’s performance — along with a game supporting cast — and Brad Furman’s tension-building direction, the movie works.

A comedy about an all-female collegiate a cappella group. And to paraphrase one of the characters in the movie, it's A-Ca-Awesome.

Emily Blunt is practically perfect in every way as Mary Poppins. Her comedic timing is incredible, and she embraces Julie Andrews' prim and proper British snark with grace.

Giroux's refusal to pass judgment on his characters prevents us from doing so, and the film is much more powerful for it.