While neither as outlandish as its sequel, Police Story III: Supercop, nor as emotionally turbo-charged as the series opener, this second Ka-Kui adventure rests comfortably in-between the others, overflowing with Chan's patented stuntwork and comic high jinks, and as such, it's a fine introduction to the Jackie Chan phenomenon.

Elvis' third movie is surely his best. He plays a guy vaguely like himself, who hits it big after learning to play music while in prison. Not only does this film have some of the best tunes in an Elvis movie, the choreography is great too.

Should be applauded for finding a new angle on a tireless story, but you might want to think twice before booking passage.

Von Trotta's film is informative, instructive, intriguing, and polished, yet it finds no ecstasy – religious or otherwise.

The Marvel films have been accused of being repetitive in their structure; Infinity War bursts any conventions wide apart. This is a vast, truly epic endeavor, one that both brings the current MCU to a near-climax (wait for the so-far-untitled follow-up, due May 2019, for the ultimate resolution), and sets the future in motion.

Screenwriter Bruce Wagner (who's been skillfully dissecting Hollywood misfits high and low since his 1991 novel, "Force Majeure") has crafted a darkly humorous moral fable that Cronenberg embraces with unabashed glee.

Pure entertainment, and a true chop-socky classic.

The real engine that keeps the movie moving isn’t the cliched script or the spectacular race footage. It’s Pitt.

At the center of it all stands Reeves, a convincing embodiment of both the calm before the storm and its subsequent capacity for ruin.

An Inconvenient Sequel does indeed speak truth to power, but the elephant in the room remains: The very powerful rarely pay attention to the utter truth.

That’s the central problem with The Way, Way Back – it’s more manipulative than truthful.

Chef is filled to the brim with the kind of heart and vivacity that makes up for the film’s familiar storyline.

Most of all, Missing Link is a perfect addition to Laika’s thoughtful blend of action, adventure, and heartfelt tales of growing up.

Canny and somewhat overwhelming documentary.

Inspiring true story? Perhaps not, but certainly a story that’s genuine enough to earn a few smiles.

The images are vivid, their meanings much less so.

It's a keeper, a tumultuous love story set against the backdrop of 24 hours of really, really inclement weather in the Oklahoma heartland.

Hell, even Heston's performance elicited cheers back in the day. Franco, in a totally, tonally different role, but still the prime human here, is a pale shadow of the ruined future to come.

Breathtakingly gorgeous but ultimately thematically unsatisfying.

Winning and emotionally punchy film.

Funny and fierce and deeply moving.

Timecrimes is a tremendously entertaining bit of Kafka that whirlpools down into "The Twilight Zone."

The only weak link here is Aniston's character – her Olivia, stuck in a holding pattern, feels like a holdover from Holofcener's previous, single-girl pictures, and Aniston underplays the role to the point of expressionlessness.

My Friend Dahmer becomes one of the year’s most chilling true-life dramas.

Come True aims to explore the layers of the dreamworld, and the terrifying monsters that lurk in the depths of our minds. Yet the unconscious world writer/director Anthony Scott Burns dissects appears to evade him as well, with layers that lead to empty answers and a leading woman who is paper thin.

There's a lot of wasted effort here trying to distract us from what we know good and well is going to happen. Nevertheless, it's time pleasantly spent.

An altogether more viscerally engaging film, from its relentless pacing and slam-bang effects work to the fine, appropriately heroic score by John Ottman. That the movie has an obvious gay subtext neither adds nor detracts from the film’s smashing popcorn appeal.

Don't believe the hype: Paranormal Activity may be a lot of things, but the words "scary" and "movie" are not among them. It is instead nothing more or less than an excruciatingly tedious YouTube gag cleverly marketed to go viral in the broadest and most box office-friendly way.