There is a legitimate film in here somewhere, buried deep beneath the rubble of its terrible script and editing.

Drug War is by no means a bad film, but it doesn’t do much to push the needle of originality, and doesn’t glide enough to represent perfection of the genre.

Particular credit must be given to Samuel L. Jackson’s voicing of Whiplash and Paul Giamatti’s work on the voice of Chet. The chemistry between the two is awesome, hilarious even.

It’s unlikely anyone who sees Blackfish will be trekking to Shamu Stadium this summer.

The most gut-wrenching 'making of' documentary ever made.

Europa Report doesn’t entirely sell out to convention by the end, but the steps it takes to reach its noble conclusion reflect a lack of imagination and invention, especially for a film that initially seems to champion such qualities.

Hollow, uninteresting and false.

Wan has marshaled his crack sense of supernatural menace into making his most satisfying scare story yet.

A movie of fools, by fools, for fools, Grown Ups 2 is easily forgotten, which isn’t as bad a feature as you’d think.

The Lifeguard is a painfully dull (alleged) drama utterly lacking in originality or self-awareness.

It is one of the better dumbass sci-fi action movies to come down the pike in quite some time.

Despicable Me 2 is fun, especially near the culmination. Structural issues aside, it’s impossible not to like these characters, all of them, rendered with love, always entertaining even when the story around them doesn’t make much sense.

The fact that Johnny Depp alone gets top billing above the title, The Lone Ranger, despite not playing said character sums up the generally misguided approach taken by Depp and the creative crew behind the “Pirates of the Caribbean” franchise in bringing last century’s radio and TV hero back to the big screen in a big way.

Given Garant and Lennon’s background on “The State” and “Reno 911,” their scattershot approach as filmmakers isn’t especially surprising; for every oddly specific Shakespeare reference or detour to the local po-boy joint, there’s an ongoing parade of puke and an awful rubber suit with which to contend.

Thanks for Sharing can’t quite find its footing as either a drama or a comedy, and near the end it’s actively sliding off the rails.

A bawdy and belligerent comedy, meant mostly for folks looking for nothing more than to enjoy a few laughs.

At best, White House Down is a sure-fire way to kill two hours, if not countless brain cells.

First and foremost I’m So Excited! is late night cabaret – funny, filthy and more than a little bit sloshed.

Maniac is a bit like watching an amputee play hopscotch: there’s no way that it’s polite to stare for this long, but you just have to see if this guy’s gonna make it to the end.

A Hijacking isn’t boring, but it is not an adventure film – it is a frustratingly realistic take on the unfortunate modern threat of piracy, and a bit of an emotional workout.

This is design work of the highest caliber and it is impossible to not enjoy simply watching these little buggers run around. It is unfortunate, however, that the creativity, originality and propulsive storytelling found in the original “Monsters Inc.” just didn’t matriculate with them.

Uncharacteristically loose and deceptively frivolous, The Bling Ring is as much of an attack on The Hills Generation as any of Coppola’s previous films were an exercise in self-pity, which is to say not at all.

Like the giallo films it pays tribute to, Berberian Sound Studio is more of a sensory experience than a dramatic one.

If the word “epic” has lost its meaning in the throes of recent summers, Man of Steel forcefully redefines it.

It’s minor LaBute, but nonetheless short and bittersweet.

So self-conscious that it alienates the viewer early and often.

A well-polished production with a remarkable soundtrack.

An efficient and effectively exciting globe-spanning zombie thriller.