If Free Guy really was a video game, it’s not one you’d play over and over. But as a one-time lark, it’s entertaining enough to invest in.

Like the Guardians of the Galaxy films, The Suicide Squad has a heart. Unlike those films, we actually see a heart pierced by a shard of glass from inside a character’s body. That said, Gunn cares about the characters, and it shows.

Moviegoers who are familiar with the source material for The Green Knight might find it a thought-provoking, updated take on the ancient poem. The film does offer interesting ideas on masculinity and honor. Just don't go into it expecting action or thrills along the way.

The trouble with a movie like Jungle Cruise is the comparison it invites. And in this case, the ride is better.

Joe Bell is a well-meaning film with a gripping story it can’t quite figure out how to tell.

Directors Leo Scott and Ting Poo are armed with seemingly endless self-shot footage for Val, a moving, fascinating portrait of the actor. But disarming is a better word for how Kilmer, reputedly a “difficult” actor, comes off.

Aside from cast changes and some plot tweaks, there’s not much new to see here. James is an engaging presence, but as this season with the Lakers proved, he alone just isn’t enough.

Roadrunner, however, lays out a convincing case that Bourdain was in pain for much of his life, desperate for answers. But even he may not have known the questions.

It’s experimental in the best way; Estrada takes chances, and not every segment works. But pieced together they tell a full and rich tale of a city and the people who live there, and the diversity of their stories.

The film has lots of effects and action and loads of Chris Pratt. What it needs more of is heart.

Eventually, the film morphs from a horror movie to a border shootout. It’s not a seamless transition.

There’s not much more to the plot than Natasha’s mission. But Shortland does not skimp on the action — the first 40 minutes or so of the 2 hour and 13 minute film are almost nonstop harrowing chases.

Of course, you could just watch this for the performances and it would still be one of the best movies of the year. But why sell yourself short? Watch it for everything that it is, a kind of miraculously unearthed treasure trove of music and politics and culture and soul. So much soul.

It’s when Soderbergh tries to say too much that he loses the thread a bit. That’s a shame, because he and the cast are so good at saying a lot with a little.

The film goes all in on its deranged version of the founding of the nation. It wears you down over time, but especially early on it's too satisfied just to be shocking and irreverent.

Is it a ridiculous movie? Of course, that’s the point. Yet it’s still kind of fun, and it all but insists that you enjoy watching it.

Things go a little haywire at the end of the film when the story falls apart a bit — endings are tough, on Twitter and in theaters. But till then, it’s a non-stop thrill.

Moreno felt as if she didn’t have much worth as she struggled, she says. One of the most satisfying things about the film is that through decades of struggle she clearly has found that worth. It’s in her confidence, the confidence of someone who has come out the other end of a long struggle with the knowledge than nothing is going to get her down. You can’t get the best of her. It’s inspiring.

If this is a story told more broadly than what we’ve seen from Pixar the past few films, so be it. It may not be a masterpiece, but its message is one that can’t be expressed enough. Luca expresses it in a gorgeous, fun way.

It's not a short documentary, running just shy of two hours and 21 minutes. But it never quite feels like it's dragging, owing in part to the offbeat sense of humor but also the sense of discovery.

It doesn’t have to be a great movie. It’s a great experience, like a beautiful summer day.

It’s too bad The Conjuring: The Devil Made Me Do It isn’t a vampire story, because the filmmakers are bleeding this franchise dry.

When she’s playing Cruella, Stone is definitely in charge. It’s a bravura performance, filled with a crackling energy that never spills over into parody. That’s what saves it. Stone makes Cruella a believable character — if not relatable, then at least recognizable.

It’s squirmy good fun — agonizing in places, in exactly the ways you want it to be.

The authenticity that Collette brings to a woman desperate for some kind of change and the willingness to seek it is inspiring. She’s the real winner here.

I could see The Woman in the Window becoming a kind of channel-surfing cult classic. But not as long as Rear Window is out there somewhere, too.

Along the way there is some really gory violence and some really cliched cop-drama dialogue, with acting to match. But as long as Rock is on the screen, which is almost constantly, it at least keeps your interest.

Really, every actor is likable and, all by themselves, good here. It’s that each situation is more ridiculous than the last and none of it fits together, even when everything gets tossed into the narrative blender toward the end.