It's an entertaining diversion - a good way to pass a couple of hours as late summer evenings lengthen - but not much more.

Perhaps surprisingly, it's no better or worse that the other superhero movies of 2015.

The film offers everything one could ask for from popcorn entertainment.

Ed Helms, a Hangover veteran, is a perfect choice to take over the reins from Chase.

In "Rocky," it was less about beating Apollo Creed than showing grit, earning respect, and getting the girl. Fundamentally, Southpaw isn't much different.

The contrived storyline offers little opportunity for characters to grow and the meandering narrative trajectory and anticlimactic ending will have some viewers wondering why they bothered.

The "characters" vary from slightly annoying to unbearable - this is a film in which a viewer can be forgiven for rooting for the old video game icons to annihilate humanity. God help us if the best savior we can muster is Sandler.

Unfortunately, it's almost impossible to make it through the entirety of Ant-Man's two hours without thinking of "Honey, I Shrunk the Kids" as least once, and I'm not sure that's an association the filmmakers were courting.

As written by the brash, funny, and often vulgar comedienne Amy Schumer, Trainwreck is brash, funny, and often vulgar. Its raunchiness is a perfect match for the man who made "The 40-Year-Old Virgin" and "Knocked Up."

There's enough material in Self/less to fuel a mini-series. Instead of letting the story breathe, the film rushes along at breakneck speed, using contrivances and "shortcuts" in failed attempts at character development.

Many of the jokes are either obvious or have been exposed through pre-release marketing material. I kept waiting for the clever or insightful moment that never arrives. The bar is set pretty low for Minions.

The best one-liners, like the best fight scenes, are reserved for Schwarzenegger. It's too soon to tell whether Terminator Genisys will have a catch phrase like "I'll be back" or "Hasta la vista, baby" but there are several candidates. Much of the film's comedy results from The Terminator's failed attempts to emulate human behavior.

"Magic Mike" was self-contained, made with no expectation of a second chapter - and they prove unable to surmount it. Too many elements that made the first film an enjoyable experience are missing.

It would be disingenuous for me to claim that Ted 2 isn't funny. Although I was often bored by the plodding direction of the story, I laughed from time-to-time.

The Overnight plays like the pilot of a sitcom developed for Netflix or premium cable. A hit-and-miss affair that deals in a sporadically amusing fashion with many of the mundane (and a few not-so-mundane) tribulations of long-term monogamy in marriage.

Max is a throwback of sorts - a movie about the relationship between a boy and his dog. Lassie springs to mind as the genre classic, but this has a closer kinship to Rin Tin Tin. Although its sensibilities are old-fashioned, the movie offers a modern look and feel.

Famuyiwa dabbles in the teen sex comedy, the urban gangster story, and the fish out of water scenario. He gives us suspense, gross-out humor, a cute romance, and a sermon about the status of race in America.

I won't argue that Inside Out is as profound or all-around engaging as "Toy Story 3," but the films succeed in many of the same ways.

Consistently hits the right notes, earning both the tears and smiles that result.

Gemma Bovery, which is based on a graphic novel by Posy Simmonds, possesses a deliciously sense of wit and irony.

Despite having a slim resume (the quirky indie Safety Not Guaranteed), Trevorrow handles Jurassic World like a pro. He hits all the right notes, giving the two-dimensional characters as much heft as they deserve (which isn't much) and handling the action sequences like a seasoned veteran of Hollywood tent pole features.

They say the third time's the charm. Not with the Insidious series, it isn't. Admittedly, installment #3 is an improvement over #2, but it fails to reach the highs of the chilling-but-uneven original.

If nothing else, Entourage (the movie) can be considered a faithful follow-up to Entourage (the TV program). That's good news for anyone who enjoyed the series up to the end and not-so-good news for those who lost interest along the way or never were interested in the first place.

The problem is that writer/director Paul Feig became too enamored with his storyline which, at best, could be described as a lame James Bond parody.

It's an orgy for disaster porn devotees.

Aloha is Crowe's worst film-to-date, eclipsing "Elizabethtown" for that distinction and raising questions about whether the director has lost his touch (á là Rob Reiner).

There's something missing and it becomes apparent early on. The movie isn't scary - not even a little bit.

Tomorrowland is an interesting collage of moments and ideas in search of a strong narrative and a coherent ending.