Galifianakis delivers a reminder of just what makes his brand of comedy so unique, special, and even a little daring.

Like a bullet fired by the Equalizer himself, this third film is efficient, effective, and entertaining, with a narrative that eschews twists on top of twists in favor of drawing the viewer into this small town where Robert’s found refuge.

This is a very effective story that works as a love letter to both a life and a city in transition.

By the time Whitney reaches the point it inevitably must, Macdonald’s film stands as an archive of how preventable Houston’s passing truly was.

It may not have the sharp edges of a classic ’40s noir, but del Toro’s softer touch invites us in like one of Stan’s credulous marks.

Berlin Syndrome isn’t a sensational film; the emotions on display are warped and scarred, but rooted in identifiable desires. In some ways, this makes their impact that much more ingrained.

At turns funny and harrowing, lyrical and stark, Honey Boy is a clear-eyed take on toxic family dynamics, fame, emotional and physical abuse, and accountability. It’s a rare treat to see characters and their pain taken so seriously and treated so delicately.

Bad Boys for Life thrives from stellar action filmmaking and could be an affecting closer to an action film trilogy, even if there are moments that feel like an attempt to build a cinematic universe of sorts (including a misguided post-credits tag).

The Ritual is rich, meaty horror that, despite your feelings regarding its twists and turns, offers up a gripping balance of psychological terror and physical revulsion.

Malcolm D. Lee’s stab at a Bridesmaids-esque journey of debauchery is funny, sometimes uproariously so, but its greatest strength isn’t in the filthiest stuff. It’s in the rapport between four women who’ve worked hard to remain friends, even as the natural progression of time continuously pulls them further and further away from one another.

The handful of scenes in which Bernstein does speak of his craft are engaging; the film depicts him as well-loved as both a professional and a man, a charming teacher to his students; his charisma and confidence are hypnotic. Unfortunately, it’s unclear what Cooper is really keen to communicate with this portrayal.

Everything is always loud, from the music to the visual design to the emotions. It's an approach ensuring that Cameron's message will be heard by even the most distracted viewer.

As the latest installment in what has become its own subgenre at this point, The Commuter serves as a fine example of the kind of tightly-coiled thriller that Neeson and Collet-Serra can do together in their sleep.

The way that Chazelle films the inside of a cockpit (claustrophobic, sensorily overwhelming, fraught with potential danger) and space (stark, haunting, stunning) are both testaments to what’s possible with the latest advancements in technology and vision in filmmaking. That said, it’s hard not to wonder why this particular film, as well-crafted as it is, was made now.

A space adventure that is alternately funny and upsetting, featuring a literal menagerie of the strange and unconventional.

The newest Transformers film, Rise of the Beasts, is a genuinely entertaining summer blockbuster, with its high point being Pete Davidson as Mirage. Highlighting a voice performance as the best quality of a film like Rise of the Beasts could be seen as damning with faint praise, but that's not the case here. Instead, it's an appreciation of how much Davidson's work enhances Beasts as a production, as these films continue to move away from Bay's super-serious vibe in favor of a new, lighter approach.

It’s fine. It’s nice, pleasing, and capable of mustering amazement from time to time at what Rogers did. This callback to one of television’s greatest pioneers shows why he meant so much to so many, and what we could still learn from him today.

The Warriors is a gangland fantasia, cut tighter than a snare drum, made for maximum impact.

Those who follow it down its strange little alley will be rewarded with beautiful music, Isabelle Huppert, and a table-flip for the ages. See it with your mom. It’ll be weird. That’s what Greta would want.

The combination of Schoenaerts’ intensely brutish, sensitive performance and Winocour’s singular dedication to tension gives Disorder plenty to offer.

Coppola sends us on a light, frothy father/daughter adventure, to be sure, but one suffused with the tiny tragedies of misogyny, and the excuses men make for their selfish behavior. Even the sweetest dishes need a little salt to bring out its complexities, and On the Rocks is no exception.

That said, Marshall is particularly well-served by Blunt and Miranda, who seem to be having such a good time together — both as characters, and as two movie starts making a sequel to a freaking classic in really cool getups — that even when floating through the sky on the tail of a balloon looks kind of dull, their charms are nearly impossible to resist.

For a film where not much ultimately happens, per se, Cronies is a thoughtful reflection on nostalgia and how the sins of the past affect the present.

Even if the run-up takes its time, DeBlois sticks the landing – for this film, for his trilogy – and makes something that feels a bit more knowing in its themes: Life goes on, protect the ones you love, and enjoy the world we all share. There are far greater crimes children’s films can commit than positive messaging.

Formally, it doesn’t reinvent the wheel ... But this straight-shooting approach mostly works, even if it doesn’t pin Davis down as concretely as some would like.

Frank and Lola is an electric modern noir that thrives from indelible characters and a palatable style.

Step may be a touch too glossy, and unusually, a bit too short, but its power is undeniable.

Unsurprisingly, Everybody’s Everything feels most conventional during its talking-head interviews, an aesthetic shared with almost every other music documentary out there. ... But when the film shows rather than telling, it’s clear that there are no easy answers for this kind of tragedy.