Whatever you call 21 Jump Street, this potty-mouthed and drug-laced reimagining of the 1980s TV show has one of the highest laughs-per-minute ratios since the "Naked Gun" films.

One of the problems with the way Mamet resolves Mike's predicament is that it's ridiculously implausible - even in the context of a far-fetched fight story.

By detailing the allegiance between Tutsi Muslims and Christian Hutus, and the fatwa issued by a Muslim leader forbidding his followers to participate in the massacres, the film is hopeful rather than horrific, even as it describes events of impossible savagery and hate.

Watts gives a deep and Oscar-worthy performance here, displaying the steely composure that made Plame a valued NOC (non-official cover operative).

For a comedy about autoerotic asphyxiation, epic deception, and shameless exploitation, World's Greatest Dad is a surprisingly sweet and tender affair.

Though not blessed with a cinematic eye, Wells is a gifted storyteller who gets nuanced performances from most of his actors.

Given the filmmaker's privileged perspective of hindsight, to not consider the real-world repercussions of their theater, to not connect the dots between 1968 and 2008 is a squandered opportunity.

The film treats the ensuing issues of conscience and compromise with subtlety and warmth.

A clever feature-length cartoon just as entertaining as the hit Nickelodeon series on which it is based.

Structurally and narratively amputated, Volume 1 retains head and guts but loses its heart and gams to the second installment. Maybe Tarantino figured that Thurman's legs, as long as the Mississippi, were sufficient to carry this half of a movie.

It's the dynamic between the three leads, Rawlins, Sives and Henderson - and the young McKinlay, who's like a miniature Shirley Henderson - that is this oddball and bittersweet story's pulsing heart.

A ridiculously entertaining romp based on the graphic novels of Bryan Lee O'Malley and directed, with mash-up mastery, by Edgar Wright (Shaun of the Dead).

Fear(s) of the Dark, a French production, interweaves the shorts, linking the segments together thematically, and narratively.

Despite its title, The Exploding Girl is an oddly tranquil experience.

McAvoy is charismatic, funny, and on the mark. Hall and Eve are both just right in their roles - bringing depth and detail to what could have been caricature parts. And if Starter for 10 takes a turn into foolhardy tragedy, it doesn't linger too long there.

It's a study in human behavior, describing how a self-confessed "emotional wreck," through accident and ambition, talent and temperament, became a star.

A disconcerting experience.

A tiny jewel of a film.

Seething, searing tragedy of unmannerliness.

Tender but never sappy, Monsieur Ibrahim brings two people of vastly different age and background together in ways that are touching, and telling. It's a small, glowing gem.

A high-energy chase, but in this spirited action comedy Yaguchi still finds time to allow the romance between lovers on the run to blossom at its own pace.

A taut, understated minimalist masterwork.

"Capote" is serious, deep and unadorned in the manner of the 1967 movie adaptation of the writer's true-crime novel "In Cold Blood." And Infamous boasts the high-gloss frivolity of the 1961 film version of Capote's "Breakfast at Tiffany's."

There is plenty in Star Trek Beyond for diehard Trekkers to enjoy, and director Justin Lin (Fast & Furious) guns the action sequences.

What gives North Country urgency is that it's about how a man comes to understand that it's bad for him and for his community to deny his daughter privileges and prerogatives he'd grant his son.

Richly informative and fascinating.

Yelchin and Jones are up to the challenge of suggesting much by doing little.

An intensely intelligent, well-written, and mature exploration of the unwritten rules women have to follow if they want to succeed in high finance.