In the Fade is a tragedy in three acts, their varying tone and effectiveness held together, however tenuously, by a powerhouse performance.

It’s a jumbled, intriguing, inconsistent mess — and yes, it is uncomfortable by design.

The film’s intentions are noble enough, but its story doesn’t always live up to them.

It’s an interesting film, consistently entertaining, a mile wide and an inch deep.

By the end of the ride, we’ll see glimpse of happiness, sadness, joy, heartbreak, maybe even tragedy, if cell phone-shot recollections are to be believed. All bases are covered, in other words, in one late-afternoon ride, a ride Gondry and his cast will make you want to take.

It's a short film, weighing in at 79 minutes, but that feels about right. You probably wouldn't want to spend a lot more time with these folks, no matter how intriguing their company. You won't necessarily enjoy the visit, not all of it. But you won't be bored, and for grown-ups with kids looking for a night out, that's something.

An unorthodox delight.

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.

It's not a bad movie, but it is very much a transitional one.

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

Point and Shoot is a fascinating, frequently frustrating documentary.

Between Parkinson's excellent visual storytelling and the entire cast, especially Cole, putting their all into performances that feel realistic, Last Breath is proof that keeping things real and simple produces some incredible work.

One can forgive the trying-too-hard aphorisms -- "You don't choose a life ... you live one" -- but savvy cinephiles are sure to be annoyed by Tyler Bates' hypnotic ambient-folk soundtrack, studded with such despoiled musical gems as Nick Drake's "Pink Moon" and the Shins' "New Slang."

His first film, "Animal Kingdom," was a terrific examination of a low-grade crime family in Melbourne. The Rover is more ambitious but not as good. Michod's patience with scenes, while laudable, is at times too much.

It’s an admirable film, though not a particularly memorable one.

It adds up to a marginally more interesting experience than the first “Frozen,” but this sequel would have benefited from venturing a touch further into the unknown.

Eventually, all of the stories will come together in a somewhat contrived way. The film's parts are greater than the whole. But the parts are worth the effort.

As cautionary tales go, Disconnect is a pretty good one, but it’s not really a whole lot more than that.

MaXXXine isn't a bad movie by any means, but compared to "X," it just feels like another failed horror movie sequel.

The script makes the characters a little too witty and spot-on with cultural references, but what makes it work, to the extent that it does, is the innate liability of Sudeikis and Brie.

There's a glut of action-adventure-explosions to choose from, so it's refreshing to see a beautiful, character-driven story that feels small, but oh-so relatable.

For all its thematic and behind-the-scenes innovations, cinematically Captain Marvel feels like a step backward for the MCU. Fresh off the heels of the all-or-nothing bombast of “Avengers: Infinity War,” the righteous representation of “Black Panther” and the giddy lunacy of “Thor: Ragnarok,” Captain Marvel is a retreat into a bland formula.

Cozi Zuehlsdorff winningly plays a young girl who works at the hospital. With her big smile and natural warmth, she is a charmer. Even better is Gamble, who gives a smart and sensitive performance without relying on any of the normal mannerisms that often afflict child actors.

For most of the film, Weitz, riding a fantastic performance by Demián Bichir as the landscaper in question, succeeds in showing the day-to-day struggles that exist beneath the political rhetoric and upper-case headlines.

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.

It’s creepy as all get out and features a great performance from Nina Kiri, on-screen alone for most of the film, as a podcast host who has moved back to her childhood home to take care of her dying mother (Michèle Duquet). Things get weird.

It works, both as a character study and a BOO! made-you-jump exercise in horror.

Hoffman wisely gives his actors plenty of room to maneuver, and that they do. It's surprisingly fun to watch them play against each other. It's not as if you're going to learn anything new from Quartet. It's too straightforward for that. But that doesn't mean you won't enjoy seeing old pros at work. And you won't be exhausted by the end of it.