There’s really only one reason to see Fisherman’s Friends, and it’s the singing.

Jesus Nebot pulls off the impossible task of not only being the writer, director, producer, and star of the film No Turning Back, but makes it all work into a satisfying and socially conscious film as well.

One of those guilty pleasures of the summer. It’s also one of those action movies that could have been ruined if Jerry Bruckheimer had taken charge of it.

The notion of exploring how a young boy views the world through his manipulative older sibling’s eyes – and how poverty affects that developing worldview – is not a bad one. It’s just delivered haphazardly. I applaud McAulay’s efforts, but Don’t Tell a Soul is at its best when it’s simply having fun as a silly B-flick. Shut your brain off, enjoy – and, like with any guilty pleasure, don’t tell a soul you liked it.

Mondocane is the finest Italian post-apocalypse movie ever made.

The performances from the film's three stars are all top-notch.

A style-rich, substance-weak B-level gangster movie which is noteworthy for two unusual reasons: it is one of the very few films from Thailand to gain international release and it is the perhaps the only film of its genre to feature a love story between a hit man and a pharmacist.

The film is dumb, formulaic, the other actors are scarcely worth mentioning, and the plot is merely an excuse to set up the action scenes. But it didn’t bore me; The Rock is ceaselessly entertaining.

Insidious: The Red Door has some wonderful jump scares, some very creepy sequences, and it gives new terror to the prospect of receiving an MRI. This is an excellent summer horror film, and if you like having the bejesus scared out of you, Insidious: The Red Door will provide about 2 hours of entertainment.

Willy’s Wonderland is a violent, glorious riot of inside-joke horror tropes and Cage’s own best tribute to a genre he helped to create.

Perhaps the fact that the film is so inspired has something to do with the established camaraderie between fellow Marvel veterans. The franchise’s influence – the ebb and flow of the film, the swooping camera shots, the scope – is evident; only in this case, instead of the System’s victim becoming a superhero, a potential hero falls victim to the System. In the Russo brother’s capable hands, Cherry will speak to both millennials and older generations alike.

Isn't a terrible film. It's not offensive, controversial or even interesting in any way.

It all works as a schlocky TV show. Mainly because the cast is on point, with a broad set of appealing characters generating their own stories well within the overarching silliness about the outside world.

There's no question that Meg Ryan is the queen of romantic comedies. Yet for every piece of frothy fluff that works -- there comes a couple where you just want to say, "Enough already." Kate & Leopold is one such movie.

Overall, I would recommend seeing this film if you are a fan of Mapplethorpe’s work, the New York art world, or of Matt Smith. He gives a bravura performance which outshines everything and everyone on screen.

The biggest loser in all of this is Chan, whose legacy over here won’t be his 20+ years as a martial arts pioneer, but rather his playing straight man to the likes of Tucker and Owen Wilson.

Book of Love is never quite funny enough when it needs to be.

How to Deter a Robber is a wonderfully zany and energetic spin on the home invasion formula. It is a memorable debut, and I can’t wait to see what Bissell does next.

The best thing about a movie like this is I never have to see it again.

You'll either walk away with a headache,or praising filmmaker John Maybury for his unique narrative...and it is unique, but in my eyes, it's also a big giant mess.

Skills Like This is not a movie that asks to be taken seriously.

It's funny, sassy and enjoyable, even though the screenplay is rather weak.

Then Came You has a little of every romantic film that you’ve seen in the past two decades, and even though it’s not quite original, it still is a good film that will give you a lump in your throat. The talent in front and behind the camera are reasons alone to give this film a watch.

It’s intellectually and socially detrimental to both literature and cinema, simultaneously.

If Stalin's Wife doesn't provide solid answers, it nonetheless offers a fascinating tapestry of love, madness, politics, suspicions and jealousies.

It’s a Christmas movie that makes you laugh. There are a couple of cheesy scenes, though, so don’t worry if that’s what you’re looking for in your holiday viewing.

This film is a pleasure indeed. The concoction of Agatha Christie elegance with Sandler’s teetering on the edge of taste humor is high-impact relaxation, like a warm bath for your frontal lobes.

Two things make this worthwhile: The realistic relationship between Elliot and Richard, and Pantoliano playing against type and actually humanizing a possibly loathsome character.