It's a heck of a cast, although the hands-down scene-stealer is John C. Reilly, in a gem of a comic-relief role that, in the interest of remaining spoiler-free, is probably best undescribed here.

As she tells that story, Asante gets a little lost in the weeds here and there in the political machinations, which don't always make for a riveting narrative and tends to slow the film's forward momentum. Even as it does, the love story between Seretse and Ruth serves nicely as the film's foundation.

It’s a movie with the sort of resonance, thoughtfulness and universality that audiences of all descriptions will enjoy — and, more importantly, connect with.

It's also both intense and entertaining enough to leave audiences hungry for the inevitable sequel so clearly set up by its cliffhanger ending.

An imperfectly executed but still perfectly enjoyable film.

It feels very much like part of a big-screen franchise. Couple it with such films as "Donnie Darko" and "Nightcrawler," and you've got a series that collectively could be titled "Inside Jake Gyllenhaal's Head."

Yes, it's a nature documentary, so it includes predatory behavior, but it's mercifully brief and generally tastefully photographed. Plus, it doesn't involve any of the film's main monkeys, so little hearts won't be broken.

Enough Said isn't without the occasional minor formulaic element or the odd narrative contrivance here and there (starting, it must be said, with its very setup). It is, after all, a romantic comedy.

It is a reasonably clever, fairly high-concept 'toon that boasts a satisfying emotional component.

The resulting coming-of-age story isn't necessarily an uplifting one. It is harsh. It is melancholy. It is sometimes uncomfortable to watch and predictable here and there. But it also boasts a feeling of authenticity.

Not only does Franco entertainingly capture all the attendant insanity -- as written about by "The Room" co-star Greg Sestero in the 2013 book on which The Disaster Artist is based -- but he has fun with it. He also, however, takes the opportunity to dig a little deeper and find the humanity at the root of it all.

This is a film your preschooler will sit through, and attentively. Better yet, parents who appreciate the artistry of a well-made animated film also stand to be swept up in what is a delightful little tale.

If nothing else, True Story is the kind of movie that will spark spirited discussion among moviegoers prone to digging and searching for the truth -- whatever that might be.

Fuqua's storytelling here isn't as expert and efficient as McCall is when he's forced into action, but it's good enough. Bottom line: He and The Equalizer 2 still deliver on their promise of a badass Denzel doing badass things for all the right reasons.

Big Eyes is not dissimilar to the Keane paintings at its center. That is, it's by no means flawless, but there's an odd attraction there, something intriguing that draws you in and makes you want to find out if there's anything worthwhile there. You can say what you will about Keane's work, but in the case of Burton's film, these "Eyes" have it.

Witching and Bitching -- though perhaps a bit overlong, and prone to meandering -- is unapologetic about what it is: a crazy, just-for-fun film that revels in its own bad taste.

Most normal people will not see this as a "pleasant" film -- I hope that's the case, anyway -- but it certain makes you feel something.

Michell's is a film with somewhere to go -- and that journey is one well worth taking.

Is Premium Rush a two-wheeled "French Connection"? No, not by a long shot. (Although it does include a racing-beneath-the-el-train homage.) But when it comes to lightweight, synapse-free action fare, Premium Rush delivers.

Far more often than not, Lee's talented ensemble -- who really do look like they're having a blast together -- generate more laugh-out-loud moments than lulls, all of which help make Girls Trip work nicely as a mood-elevating mid-summer diversion.

It does double duty, working equally well as a superhero movie and as a teen comedy.

The result is the kind of movie that can be counted on to put a smile on the face of even the casual Beatles fan. In other words: a good laugh.

While it's enjoyable enough to watch, there's no slam-dunk takeaway here.

It's that sort of singular imagery that ultimately rescues Lowery's film. Yes, it's a flawed movie, but it also is a downright lovely one.

Aesthetically, Helgeland's film -- while highly polished -- is straight-forward stuff, hewing so closely to the prescribed genre conventions as to border on unimaginative.

It's a dark, troubled world that O'Brien has created, and one that's not without its occasional predictabilities. (As soon as you see Christopher Lloyd in the cast, you know he'll figure into the plot at some point. And you'd be right.) Still, it's one that -- like "Stranger Things" -- proves hard to resist.

Despite its adoption of that trendy (and more than a little tired) shooting style, there's an old-fashioned charm to Earth to Echo.

Once Learning to Drive gets up to speed it hums along nicely.