It takes a little while to get going, but once it does, it never lets up, proving a cathartic anti-authority picture driven (both literally and figuratively) by Howard.

Iron Lung has terrible pacing and very low energy from the start. The scenarios that Fischbach has put his character in just aren’t compelling enough to watch unfold, with scenes that drag on and on.

Another Simple Favor takes its tongue-in-cheek momcore satire to new visual heights by moving the action to coastal Italy. All the best parts of the original are also present here, including Lively and Kendrick’s sparkling chemistry and killer costume design. Not every attempt to expand on the concept is successful, but as a piece of escapist entertainment it’s more clever than most.

Osgood Perkins’ latest dark trip has a powerful Tatiana Maslany performance and cool aesthetics to thank for keeping Keeper from getting completely lost in the woods.

While Beast certainly does little to innovate in the survival thriller genre, it does serve decent fun for fans that want to see Idris Elba fighting a giant, man-hunting lion.

Black Crab has all the ingredients to grab you and take you on a thrill ride -- and at times it achieves this -- but it suffers partial collapse by the end because of its need to land a little loftier than necessary.

After a strong first act, The Conjuring’s intended finale disappoints, keeping its central duo of Ed and Lorraine away from the action for too long.

Spiderhead is loaded with original sci-fi ideas, and while it may not stick the landing, it makes for an intriguing experience.

Zack Snyder’s Justice League is a surprise vindication for the director and the fans that believed in his vision. With a mature approach to its superhero drama, better-realized antagonists, and improved action, Snyder’s version of Justice League saves the movie from the dustbin of history.

Doug Cockle’s return as Geralt of Rivia is a casting coup worth celebrating. Too bad the movie he stars in is so boilerplate.

The Lord of the Rings: The War of the Rohirrim is a fascinating idea with a lackluster execution, more interesting as a concept than an actual retelling of one of Middle-earth’s famous legends.

At the end of the day, the movie works. It's funny, it's charming, it's sweet – all elements that make it a more accessible comedy than Meyers' later work, which is generally aimed to a more specific audience. It's certainly worth rewatching and holds up well to retrospect, and while it might not be the laugh-a-minute spoof that was the original Austin Powers, it's an amusing – and at times hilarious – look back at the beginning of one comedian's superstar career.

Goodbye Christopher Robin is a good example of how far a film can go with just the talents of its actors and director, even when the script can feel jarring or emotionally uneven.

When it works, it's engaging and there’s just enough to keep you entertained but you can’t help feel the heroes deserve something meatier.

Bad Boys: Ride or Die provides a much more entertaining package than what came before, with thrilling and inventive action direction from Adil & Bilall. Yes, it’s as over the top and silly as ever, but it’s done with more panache and genuine wit than before, proving these Bad Boys, even at their older age, can still deliver.

The filmmakers definitely go for it in the gross-out gag department, with jokes about droppings and marking and red rockets. But beneath the vulgar laughs, this is a comedy nearly as formulaic and sentimental as the sappy tearjerkers it's lampooning. Its bark is worse than its bite.

While trying to hit the basic markers that have come to define a Purge film, The First Purge comes up empty when mining real-life tragedies as the backdrop for a summer movie.

There is a good story to further the violent adventures of Snake along; this is far from it. There are awesome, in-joke-with-your-friends guilty pleasures, and then there's Escape From L.A..

M3GAN 2.0 hotswaps horror for sci-fi/action to mixed results, but M3GAN’s absolutely heinous wit and killer moves leave her, and not the new genres, the star of the show.

An atmospheric, affecting science fiction flick with big ideas, slick execution and a message that will stick with you.

There may be a sort of cutesy premise, and the message about fixing problems without violence might seem a bit innocent these days, but Spies in Disguise is absolutely charming.

I absolutely love the first half of this film. Lister-Jones recaptures the magic of the original by welcoming the audience into a cool coven with warmth and radiant leads. It's a pleasure to tag along with this dynamic squad, whether they're dabbling in telekinesis, flirting with a crush, or taking on the forces of evil and misogyny. Slow-motion of moments awkward, lusty, and celebratory envelop us in the overwhelming emotions of the heady time that is teendom. Sadly, this spirited and powerful path is abandoned to lay the groundwork for a sequel that is -- as far we know -- not a certainty. Such plotting bogs down the rich and rewarding story of friendship, self-acceptance, and growth. Still, that franchise-forward choice aside, this sequel is wickedly fun and bewitching.

Orphan: First Kill doubles down as a prequel about Esther but manages to feel so uniquely standalone thanks to some supreme storytelling swings.

War Machine has just enough juice to prevent it from being a Snore Machine.

It’s gory, fun as hell, packed with hilarious grotesque kills and over-the-top characters, and at 90-ish minutes, it’s paced near perfectly and never overstays its welcome or overdoses on the joke.

Nicolas Cage’s live-wire performance fuels a compelling, if predictable, crime thriller.

It’s not without its charms, but its slow, rote genre elements yield no rewards, robbing Echo Valley of its thrills in the process.

Actors Tom Blyth and Rachel Zegler are brilliant additions to the franchise with equally magnetic takes on their very different characters, but aren’t given enough time to fully flesh them out.