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

It seems another member of Clint Eastwood's brood is ready for stardom. Francesca Eastwood, 22, his daughter with actor Frances Fisher, is one of the bright lights in writer-director JT Mollner's otherwise uneven feature debut.

A cross between François Truffaut's sometimes-harrowing dramas about childhood and a Steven Spielberg fantasy, Gondry's film abounds with sentiment - without falling prey to sentimentality.

As solid as Cranston, Leguizamo, Kruger, Bratt, and all the rest are, the built-in constraints of the movie format don't do their real-life counterparts full justice.

McCarthy, Wiig, McKinnon, and Jones bring a spirit of spontaneity to their interactions; it's not exactly seat-of-the-pants improv, but it doesn't feel blocked-out and belabored, either.

Schütte's film, which began with the cooperation of Zappa's late wife Gail and has the blessing of Ahmet and his sisters, Moon and Diva (but not Dweezil), lets him speak for himself.

It wants to be "Wedding Crashers," but it's not nearly as memorable, smart, or sweet.

In much the same way that the smash "Zootopia" demonstrated that creatures of different culture and class and species are better off when they come together, The Secret Life of Pets is a testament to teamwork and friendship and fixing the rifts that divide us. Let the fur - and the warm, fuzzy feelings - fly.

Wiener-Dog has a satirical edge as sharp as any Solondz has fashioned, but it is also filled with disarming moments of absurdist humor.

Swiss Army Man is a quest movie of sorts, and also a sort of modern-day piece of absurdist theater. Samuel Beckett by way of Monty Python, it is a story that is at once rooted in the fixations of adolescence (sex, the idea of sex, bodily functions, more sex) and in the loftier firmaments of the mind.

Our Kind of Traitor strains credulity: The world it attempts to depict - international organized crime - is too large, too unmanageable and too easily caricatured.

It's fun, exciting, freakish filmmaking.

The photography is lush, the dialogue uproarious, and the crazy action sequences unforgettable.

The Purge: Election Year tries to show that what counts isn't firepower but compassion, not egoism but community. But frankly, it can't help but shoot itself in the foot: The violence is too tantalizing, too stylized, too fetishistic - the film features killers dressed in fanciful Halloween costumes who dance and sing as they dismember people.

The set pieces are fun, if not as spectacular as those in Jon Favreau's adaptation of Kipling's similar "The Jungle Book." And the plot moves at a nice pace.

And tell me if I'm nuts, but another distraction: Doesn't the BFG bear a striking resemblance to George W. Bush?

A stylish, painterly picture that evokes classic horror films from the 1930s.

Like its lead Royalty Hightower, whose performance is just as spectacular as her name, The Fits is impossible to look away from. It's gorgeous, poetic, and opaque, and I've never seen any other movie like it.

Mixing elements from documentaries, biopics, war flicks, and Hallmark romances, Ross' film is a living history tour, but with gory special effects and a smoldering smattering of sex appeal.

Portrayed by a mesmerizing Elle Fanning (Maleficent, Trumbo) in a magnificent, heart-stopping star turn.

While the plot is dumb and the script is worse, watching aliens explode in spectacular fashion isn't the worst excuse to spend to two hours in air-conditioning.

It's great to hear a director talking candidly about the actors he's worked with, dishing out good, juicy stuff.

Well-written, gorgeously shot, and expertly edited, the film is also an exasperating exercise in good intentions gone wrong. For all its strengths, Genius often trades in tiresome clichés.

Central Intelligence is actually funny.

Much of Finding Dory is funny, and fun. But there's something kind of haunting about our heroine's memory thing. If you forget where you are, and who you are, and why you are - isn't that called Losing Dory?

A complicated, multi-segmented narrative that's much longer, more elaborate, more dramatic, and more packed with chilling moments and hair-raising visuals than one could anticipate, even from Wan.

Just because you can come up with names such as Azeroth, Durotan, Orgrim, and Grommash Hellscream doesn't mean you're J.R.R. Tolkien, people.

It's the magic of movies, not a movie that comes close to achieving real magic.