It’s exceptionally well made, daring and experimental, with a powerful performance from Ana de Armas at its center. At its everything, really — she dominates the film, as well she should. But the film is also too long, too self-indulgent, just too much. It is a marathon of misery.

I knew nothing about the real story of the Agojie before I saw "The Woman King." I thought it was a breathtaking, creative and powerful film. And despite knowing the history now, I still do.

It’s all very British, enough so they should serve tea and crumpets during screenings. Some of it is also entertaining. Just not enough.

Things get gross and gory — it’s a Ti West film, after all — but more than anything else, West is having fun. Lurid fun, yes, but fun nonetheless. And if you’re a fan of horror and filmmaking, you will, too.

The Freemans’ minivan is moving 35 miles per hour, max, in every scene set in the car. They needed a lot more horsepower in order to convey a sense of urgency and thrill, and I’m not just talking about the van.

What’s really missing is the sense of magic. Some films feel like classics from the start. Others don’t. The new “Pinocchio” falls into the latter category. Watching it makes you believe sometimes it’s best to leave well enough alone.

You don't need to be religious to enjoy the film, but anyone who grew up in "the church" will especially appreciate the subtleties.

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.

Thus, despite being stuffed full of inventive, near-visionary visuals, “Three Thousand Years of Longing” winds up feeling a little incomplete. The story lacks the one thing the djinn promises: magic.

A Love Song is, no doubt, a small movie (it only lasts 81 minutes), a miniature study of a life. But it is an oddly compelling one. And Dickey and Studi masterfully make the difficult look easy.

It's all very stylized and flashy and modern, self-consciously hip in a way that's clearly been designed to speak to generations for whom Elvis Presley may not be the King of Rock 'n' Roll so much as the guy on the soundtrack to "Lilo & Stitch."

The result is a movie that’s fun in spots — a good dish here and there, you might say — that doesn’t add up to a fully satisfying meal.

The best thing “Day Shift” has going for it is the best things the dopey ’80s films had going for them — a willingness not to take itself too seriously. And that only gets you so far. But who knows, maybe in 40 years this will look better in retrospect, too.

There are some clunky bits in which the filmmakers aren’t attentive enough to details. And the CGI in some spots is laughably bad. But Midthunder makes up for it. She makes Naru believably tough and smart, the kind of warrior who might well stand a chance against an opponent seemingly impossible to defeat.

Director David Leitch’s film, based on the novel by Kôtarô Isaka, is a hyper-stylized, hyper-violent action film that rarely comes up for air. It’s also a big ol’ mess. Although everyone involved seems to be having a good time.

Give writer and director John Logan points for creativity, exceptional inclusion and casting Kevin Bacon. But the movie could have used a lot more of the camp-slasher horror part.

A dark comedy thriller that could be a “Black Mirror” episode and leaves you with the same existential turmoil as Bo Burham’s “Inside.”

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.

“Nope” is good — quite good in places. But it’s not great. In fact it’s not clear that Peele means for it to be, odd as that sounds.

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.

Certainly Anything’s Possible is a welcome unique entry into the high-school romance genre, with representation playing an important part. It’s not as deep or as deeply felt as it might have been, but at least it’s a start.

Gosling and Evans are movie stars, no doubt about it. How far that charisma can take a film is a question “The Gray Man” asks and answers: pretty far, but not far enough.

It is, of course, impossible not to think of what might have been had Giffords not been shot. Every victim of gun violence inspires that feeling. But Cohen and West capture her work since, both to recover and on behalf of others. The Tom Petty song that inspires the title is apt: won’t back down, indeed.

Daisy Edgar-Jones is affecting and effective as Kya, known to redneck townsfolk as “The Marsh Girl.” If only the filmmaking and screenwriting were as good as her performance. It’s really just a swampy Southern Gothic soap opera at heart, with designs on being something more.

Between Valkyrie ruling New Asgard and Jane Foster vanquishing shadow monsters as Mighty Thor, it seems early on as if the women would lead the way in “Love and Thunder.” It helps that, throughout, Thor is more often than not the butt of the joke.

Minions: The Rise of Gru is the perfect movie if you’ve been needing a moment to just laugh, no matter what age you are. Yes, it is an animated film that will appeal to kids for sure, but it's written with adults in mind, too.

It’s not going to be the blockbuster hit of the summer, but it’s a cute, feel-good movie that’s combines a lot of classic elements in a creative way.

If a heartfelt summer comedy feels like something that the doctor ordered, then a healthy dose of Marcel the Shell with Shoes On is just what you need.