The pleasure of good company is Robin’s occasionally winning quality.

While the focus occasionally gets lost in the filmmaker’s personal inquisition, it remains a thought-provoking, challenging cap to Greenfield’s life-long body of work.

What happens throughout The Miseducation of Cameron Post shows exactly why conversion therapy needs to be banned. It’s emotionally abusive, and is harmful to the vulnerable LGBTQ youth population.

Unfortunately, The Spy Who Dumped Me struggles to tell a story as compelling as its two leads.

While the script is fundamentally flawed, the direction doesn’t help. Young, who previously helmed the brutal 2016 indie Hounds of Love, feels out of his element in the sci-fi action realm.

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.

Mission: Impossible knows exactly what it needs to be: a fun and chummy thrill ride that’s always self-aware. Fallout follows that agenda, while also revisiting its more severe roots. It’s a sequel in every sense of the word, reintroducing not only familiar faces, but styles, themes, and motifs of past films.

This film is all easy beats, predictive familiarities, and absolutely zero heart, soul, or silliness anywhere to be found.

Mamma Mia! Here We Go Again is one of the most batshit crazy pieces of outright nonsense this writer has ever had the pleasure of encountering, and while calling it an excellent film would be going way too far, I enjoyed every single goddamn second of it.

Don’t Worry, He Won’t Get Far On Foot is an incredibly mixed bag, a complicated story told with an approach that would have made more sense as a follow-up to Good Will Hunting in the ‘90s.

Come Inside My Mind is a moving, engaging portrait of a beloved comedic icon, but like Williams himself, it sometimes lacks focus.

The franchise, however, feels less solid than Washington’s performance. There’s a formulaic quality to it, an aversion to the basics of world-building that gives The Equalizer 2 an outdated feel in a cinematic landscape where more attention is being paid to continuity and myth-making.

How It Ends ends with something of a whimper, leaving us feeling as if a compelling story was undercut by being told through its least interesting characters.

Skyscraper‘s knowing sense of transparency about its own corniness turns it into exactly the right kind of summer outing, a tight 93 minutes of consistently well-executed overstimulation that takes itself seriously enough to avoid total self parody while also going out of its way to avoid insulting its audience’s intelligence.

The heart is ultimately stirred, and the eyes often pleased, by this new White Fang.

The First Purge is every bit as nakedly, hysterically symbolic as its predecessors. But if there’s one thing that the current political climate is teaching us, it’s that a subtle touch isn’t always the solution.

The action scenes are tense and well-staged, and the performances are staggeringly effective. On a technical level, it’s a notable work of formal craftsmanship. But to what end?

Wardle allows the details to roll out with impact, and even some insight. Curiosity for the grand genetic schemes is a great sell, but the human element, the lament for lost time, truth, and family? That sticks at the end.

Despite its considerable charms, Ant-Man and the Wasp is decidedly not a must-see event. In fact, it sometimes feels less like a movie than an episode of an ongoing superhero TV series. But it’s a really, really good episode of that series. And it’s the perfect antidote for the gravity of Infinity War.

For as well-intentioned as Jarecki may be, The King starts with a conclusion and works backward from there, and the results are more than a little tenuous.

The film may deliver the spectacle of dinosaurs body-slamming other dinosaurs with their mouths, but that’s about all that connects Fallen Kingdom to the wonder and fright of the original film. As a horror movie, it’s diverting enough when it’s not continuously shooting itself in the foot with ideas it can’t explain and doesn’t care to.

When the film isn’t simply boring, it becomes unintentionally hilarious in its occasionally inept production.

The film delivers a central philosophy about love (you like people because of their good qualities, but you love them despite their flaws) and features plenty of earnest self-actualizing, but it’s first and foremost here to provide a funny, breezy update on a familiar rom-com formula. Unlike its lost twenty-something leads, Set It Up knows just what it wants to be

Like the real figures at the center, all the schemes and tricks and traps are just the way these men express their sincere affection for one another. That’s sweet enough, but the way their loved ones also get wrapped up in the game as well makes Tag, as corny as it might sound, a testament to the transformative power of play.

As was the case with the majority of blaxploitation films, the original Super Fly’s appeal wasn’t in its story so much as the ways in which it carved out an unapologetically black vision that served to capture a particular era in terms of its themes, music, and fashion. X has done that here, but he’s also crafted a crowd-pleasing summer blockbuster that will appeal to the modern filmgoer.

Incredibles 2 hardly shakes the foundations of what a superhero movie should be, but it’s a raucous crowd-pleaser that serves up enough mouthwateringly beautiful eye candy to delight kids and grownups alike.

Clemons’ performance is a subtle, warm wonder.

It’s the awkward tween of gay coming-of-age movies: earnest and confident, but more than a little clumsy.