The script unfortunately replicates one of the worst errors in "Toy Story 3": Sidelining just about every major supporting character from the early installments.

Ultimately passable movie entertainment, but like most future in-laws leaves a feeling of something still desired.

Ultimately, The Equalizer 3 marks a fitting and warm end to the franchise. It offers all the audacious violence and familiar set-pieces of the previous films, paired with a wistful goodbye to its central vigilante. It’s not reinventing the genre, but it doesn’t have to. Like its protagonist, this movie knows it has a simple job to do and accomplishes it in the most satisfying way possible.

A very funny and well-acted comedy about the slings and arrows of outrageous adolescence.

Much has been made of the film's ending, vis-à-vis whether or not it's a pro- or anti-organized religion commentary of some sort. The Hughes Brothers, for two, say they just wanted to make a kickass piece of contemporary entertainment, and I, for one, believe them.

Parker has cast credible young versions of all the original players, although in most cases vintage outperforms new grape.

What really keeps Wander Darkly together is yet another convoluted, conflicted, and honest performance from Miller.

What They Had has a lived-in ring of truth that will be instantly recognizable to any caregiver, spouse, child, or other loved one who has experienced something of this sort.

The Mirror Has Two Faces may not be Oscar caliber on every front, but it’s a lot like its star: sharp in its humor, self-assured in its eccentricities, and immensely watchable.

It closes the film in what I suspect was intended as something of a happy ending, but it’s unnecessary: Thirty happy years should be happy ending enough.

As a portrait of what happens to a family when its glue disappears, Extremely Loud and Incredibly Close wrung a bucket of tears out of me.

A pastiche of classic plot devices scrounged from "The Taking of Pelham One Two Three," "The Conversation," "Blue Velvet," and dozens of other movies, the story often feels familiar, but director Anderson (The Machinist) has a such a flair for suspense that even the most jaded viewers will find themselves in a sweat.

There are flashes of what made the franchise work. Turner, after stumbling through the part in the rocky terrain of X-Men: Apocalypse, finally gets to grapple with the emotional complexities of a woman whose gifts are the most constant curse.

More often than not The Heat is just stupid-funny, which circles us back to McCarthy, motor-mouthing four-letter fury like an operatic aria. She sells Mullins as delightfully unhinged and fairly radiating with rage, and it’s irresistible.

There are no life lessons here, only an uncommonly focused look at one life – the sometimes joyful, sometimes punishing day-to-day existence of a young man whose future is more uncertain that most.

Gloriously gonzo Appalachian creeper Spell makes one big change – having both the urban family in peril and the horrifying hicks with malicious intent be Black – and that's a refreshing change to a genre that's felt moribund since about "Wrong Turn 2."

For anyone of a certain age, the ending will come as no surprise, but, as always, half the fun is getting there, and cynical though it may be, American Made is undeniably a whole lot of action-oriented fun.

While Enys Men may play with the trappings and symbolism of folk horror, it's ultimately more of an internal psychological drama, one driven by Woodvine's tragic and quiet embrace of the island's bleak remoteness.

The family’s reunion story is enhanced by showing it from each character’s perspective. Each time, we discover more about each person and come to admire the sensitivity they show toward one another.

To the filmmakers’ credit, the points of view in The Great Invisible are comprehensive and varied, though it’s clear who they view as the good guys and bad guys here.

The location, the cultural mores, and most especially the sparse soundtrack (mixing minimalist electronica and the guzheng or Chinese zither) may be Chinese, but this is all-American noir at its blackened heart.

Never achieves the satisfaction of a real crackerjack con movie.

Queens delights in its inspirations, saturates its toxic love story with the markings of an era just now getting its resurgence.

While Linklater's version has its own unique pacing, mounting up more like a series of innings than a series of acts (even if you think you know how it ends, that bottom-of-the-ninth screwball still beans you silly), it lacks the screwball-to-the-noggin punch of the original.

Solid performances, capable visuals, and the honesty of the interracial subject matter make Restaurant stand out from the typical "I'm an artist, not really a waiter" pack.

The Descent may not be everything you've heard, but man, it's also a lot of things you haven't.

It’s bleak and brutal, and Waugh’s cold tone (a definite throwback to Shot Caller) leaves no one with clean hands. But as a testament to the costs of a noble sacrifice in the face of institutional inhumanity, it’s as vital as any of his earlier films.

As far as nonraunchy, adult-geared rom-coms go these days, Crazy, Stupid, Love. leads the pack by several heads.