Gunn makes this huge entertainment accessible to the converted and the neophyte alike, and he has only has one goal: To send you out of the theater with a fat smile on your face. Mission accomplished.

The concert scenes in this biographical picture are some of its best moments — you’ll wonder just how long the actor had to practice to perfect all those splits — and Boseman’s charisma is irresistible.

Like most of le Carré’s novel, A Most Wanted Man has a veracity most spy thrillers lack, and the suspense is of the intellectual, not visceral, kind.

Not entirely unwatchable.

The good news is you’re feeling stuff, you know? And you’ve got to hold on to that. You get older, and you don’t feel as much, your skin gets tough.” This remarkable, wonderful movie helps you remember.

Even the most ardent fans of Braff’s first feature film, the charming Garden State, will struggle to warm up to this self-indulgent, uninvolving drama about an immature, almost-middle-aged guy trying to find himself with questions he should have had answers to long ago.

The cinematic equivalent of herpes, Sex Tape is an uncomfortable embarrassment to raunchy comedies everywhere. Fortunately, no medication is required after being exposed to it: The effects are not permanent, only painful.

“Movies are a machine that helps us generate a little empathy,” Ebert said about films. Life Itself is a lovely, eloquent tribute to a man who devoted his existence to showing us just that.

Watching an army of apes riding horses heading into battle is undeniably cool, but that’s the only thing the movie gives you: Neat eye candy. Dawn of the Planet of the Apes is written at a level so low, even 8- year-olds will find it lacking.

Pay attention, Michael Bay: This is what thrilling summer movies look like.

Begin Again manages to be romantic and cynical about the music industry, which Carney touches on but never allows to take center stage.

Derivative and self-important, Third Person is a concept and not much more, precisely the sort of film that makes you wonder why anybody would bother to see it at all.

[A] visually stunning, technically impressive and crushingly dumb and overlong picture.

After an exciting high-speed car chase reminiscent of the Mad Max pictures, The Rover settles into a two-character drama between Eric and Rey, but Pearce is so one-note that their relationship is never engaging.

The undeniable star is the diminutive comedian. He’s the glue that holds the movie together when it wanders into the weeds and starts believing it’s a serious meditation on relationships.

That built-in nostalgia is part of the reason for the success of Jersey Boys onstage and for its appeal as a movie.

Palo Alto is a pale imitation of the early novels of Bret Easton Ellis, who wrote about young ennui and misdirection from the inside out.

De la Iglesia’s knack for offending audiences while showing them a good time is stronger than ever: Witching and Bitching isn’t much on substance or logic, but man, is it fun.

The Signal is too ambitious for its own good: The movie is built on shells of ideas and concepts that haven’t been fully thought out, and once it’s over, the movie collapses the more you think about it.

The movie offers just the right amount of spectacle.

The movie wouldn’t work, of course, without the chemistry between Hill and Tatum, an unlikely duo who share a tremendous charisma.

The Dance of Reality, which deserves a place along Amarcord as a fantastical take on coming of age, is the work of a wise and experienced old soul with the heart and curiosity of a young man in love with life.

Best of all, the film never makes its characters into stoic or tragic heroes, choosing instead to highlight what makes them human — their hopes, their fears, their anger, the way they learn to live with knowing they’re going to die.

Edge of Tomorrow isn’t good, but it’s also forgivable. Just please stop the "Top Gun 2" rumors, Tom. Please.

Don’t expect Hitchcock or De Palma here — Reichardt is much too low-key and modest for such crowd-pleasing pyrotechnics — but one long, sustained shot near the end seems to suggest that people who are convinced they are doing the right thing are capable of great evil.

By film’s end, everyone has been transformed for the worst. Heli is a troubling and upsetting picture, a portrait of a broken country that seems to be beyond repair and a depiction of how violence and corruption, when left unchecked, taints saints and sinners alike, sparing no one.

The things that stay with you are the dull, boilerplate love story, the laziest performance of Liam Neeson’s career as a murderous gunslinger and the distracting amount of makeup Seth MacFarlane sports in the film.

The result is a rare live-action Disney movie that merits comparison to its beloved feature-length cartoons.