Good-looking but predictable and schlocky, Mia and the White Lion is ultimately saved from slaughter by its two plucky heroes.

Mailer’s glossy film contains all the expected melodrama that hardcore fans of sports movies have come to expect. Others may wince at the predictability of the plot but are bound to find at least some respite in Shannon’s magnetic performance.

Perkiness Alert! Much of the banter and many of the gags are amusing but Witherspoon cranks the perkiness to off-the-dial levels here and anyone with low tolerance for superpeppy movie do-gooders should consult a physician before viewing.

Europe’s New Faces is a worthy exercise to pull back the curtain on the experience, but it should perhaps be edited down to 90 minutes or so and include some framing context so we know who and what we are seeing and why the migrants chose to make this trip.

Consisting of three segments, this hit-and-miss cinematic jumble imagines our world being taken over by the titular otherworldly gateways. Their origins and purpose remain ambiguous throughout, which some may find tantalizing, while others will deem infuriating.

Game Changers does a formidable job of patiently tracing the history of game shows from their very inception to the current deluge of such shows on TV.

To its favor, the film is blessed with strong peformances by Ozgu Namal as Meryem and Murat Han as Cemal.

A must for any true rock aficionado.

Director Darren Aronofsky, creates an eerie "Eraserhead"-like world that keeps the film compelling even when it digresses into a silly cat-and-mouse psychodrama.

A moderately fun B-flick masquerading as an “elevated” genre piece, it doesn’t quite bury itself but never quite finds its footing either.

Director Juho Kuosmanen excels in telling a story that seems entirely believable and realistic, never forced or predictable. The actors are equally talented.

Like Father, Like Son never truly absorbs us in its characters, leaving a lot of food for thought, but little to say on any of it.

The film is loaded with enough curious twists and turns to keep your eyes glued to the screen to see who lives, who dies, and if anybody is smart enough to close ‘the door’ on their way out.

If you’re going in hoping for something the whole family can genuinely connect with on a deeper level, you’ll be disappointed. It’s a kids’ movie, plain and simple, and there’d be no way I’d see this if I didn’t have kids.

Waltzing with Brando never gives Zane the opportunity to go deeper, which makes for a forgettable film and a lost opportunity for what could have been the role of a lifetime.

Ultimately, Vanquish falls into the cliché of typical action films, where the focus is on the action, and the story is a way to string the action together

There’s a lot of silliness that will warm the hearts of Rom-Com fans. The silliness at least is high brow with Paul Feig at the helm and Emma Thompson part of the writing team.

Instead of a taut coming-of-age drama, we seem to have gotten a surfing movie that happens to have a skeleton of a story.

It’s perfectly entertaining, it’s just not going to win any Oscars, but it doesn’t need to, it’s a summer movie for fans of the comic and adults who still feel like kids. If that’s you, go see it!

Up to the final scene, the film seems to just barely miss the mark in the place where it could have thrived. The ending is somewhat puzzling with the assumption that the audience would make a connection to what happens with David, but instead, it just left questions.

The film is as intimate as it can be, but at times, feels like an invasion of privacy.

Most Westerns like to have a slow burn, but not this one. Canfield includes constant action here that keeps the story from dragging. The nice thing is that the action is there not just to have action, it has a purpose and helps the narrative move along.

Tabernacle 101 is undeniably entertaining in a trash-tv sort of way.

Although Great Great Great might not be as gripping and memorable as its name indicates, it manages to uniquely capture the essence of the lives of middle-class young adults trying to come to terms with the fact that their journeys will be very different from their parents’ and that nothing is as easy it seems in this trying time.

1st Summoning‘s final act plays like one of the better-quality segments from the V/H/S franchise, and it suggests that this filmmaking team might have been better represented by an all-killer-no-filler short subject rather than a feature.

Maybe Banderas wanted to capitalize on the popularity of the Taken or John Wick franchises, which is entirely understandable. For a man used to covering a wide range of genres, the role of the older action star is one with a certain degree of cultural cache. The Enforcer, though, just isn’t the right vehicle.

The Outsider puts a spin on the western drama but quickly falls back into the conventional tropes of the genre. It best to approach The Outsider knowing that its primary focus is on the story and not action.