Baby Driver feels both influenced by the modern era of self-aware, pop-culture filmmaking and charmingly old-fashioned at the same time, which is only one of its minor miracles. It’s as much fun as you’re going to have in a movie theater this year.

Most of all it shows how DeJoria’s passion for doing good extends into a head-spinning variety of walks of life.

Paulina is, in that sense, worth seeing, even if its basic plot repeatedly stalls. It is a thoughtful movie, but not necessarily a fulfilling one.

There's always something to ponder with this film, which gets stranger and more polarizing as it goes along.

Violence in The Bad Batch has neither artistic nor narrative purpose.

The movie is a throwback to an earlier era of documentaries, when filmmakers did not feel obligated by commercial pressure to give their film the shape of a thriller, a sports film, a mystery or anything else, but instead simply brought their cameras into people's lives.

The movie, then, is not just a niche film but a film for a niche of a niche. Rather than being ideal for people who know a bit about French cinema and want to know more, it’s best suited to people who know a considerable amount about French cinema (and culture) of the early sound era and want to delve deeper.

It has the feel of a late-night conversation at a college party, full of good ideas but lacking focus.

Gorgeously shot by Philippe Le Sourd (in his first collaboration with Coppola), The Beguiled lingers on its images, allows us time to settle into them.

Apatow also has a knack for spotting up-and-coming talent and using his considerable influence to help foster it on the biggest stage and under the brightest lights. He’s done this with Lena Dunham (“Girls”) and Amy Schumer (“Trainwreck”), and he’s done it again with Nanjiani.

From the very beginning, this is an incoherent mess.

All Eyez on Me is one of the most useless music biopics ever made — it’ll be too confusing for newcomers and too underwhelming for those familiar with the work and the life of rap prophet Tupac Shakur.

The best thing that can be said about Once Upon a Time in Venice, a very light action comedy from Mark and Robb Cullen, is that it allows Willis to cut loose and have fun.

Indie sci-fi film Kill Switch is the worst kind of science-fiction film: the kind that coasts on a central gimmick instead of delivering either visceral or intellectual thrills.

The final exchange between Paisley and McGuinness, when they shake hands, is the best, but by then it's far too late.

This is a movie that is too frenetic and basic to make a substantial impression. I appreciated a kernel of observation here and there, but not enough for me to give it a whole-hearted embrace.

Harmonium is consistently about mood more than anything else. You sink into the film at first. Then, with each new leisurely introduced plot point, you struggle to regain your sense of calm since, after a while, the film's protagonists are doing the exact same thing.

Suddenly, The Book of Henry turns into a not very believable thriller, complete with a ticking clock and a talent show.

47 Meters Down, despite a few things going for it, is an easily skippable work that will, ironically, probably wind up playing better on television and home video, where viewers might be more willing to overlook its failings

Rough Night starts out buoyantly, and it and features some wonderfully weird moments scattered throughout. But those scenes never truly gel with the movie’s eventual life-or-death stakes.

Despite its lack of originality, as well as its lackadaisical storytelling and world building, it satisfies in that amiably weird way that only a "Cars" film can.

This is a remarkably assured movie, through and through. Walsh and cinematographer Guy Godfree have taken care to make every individual shot a thing of beauty. But the artfulness always acts in service of the emotions, which in the end become both inspiring and heartbreaking.

From start to finish, Uziel’s packaging of the story seems more inspired than its contents.

The Hunter’s Prayer is like a Luc Besson film put through a deflavorizing machine to remove any element that could be distinctive, energetic, or fun.

You might come to Camera Obscura expecting nothing more than a kite-high concept like "camera that photographs future murders." But you too will be disappointed if you expect anything more from the film since its creators do not offer satisfying cheap thrills and/or thoughtful consideration of a veteran/artist's tortured post-war psyche.

Dawson City: Frozen Time is a rather clunky and uninspiring title for a film that’s both revelatory and deeply fascinating.

Cohn never turns Night School into a sob story or a manipulative tale of redemption.

Sam Elliott is Sam Elliott as Sam Elliott in The Hero, a sentimental and sporadically effective celebration of the veteran character actor.