The YouTube Effect is a chronicle of extremely recent history and doesn't cover much new ground. If you follow YouTube, big tech, or any controversies surrounding social media, you will be familiar with everything here.

The Lesson, directed by Alice Troughton from a script by Alex MacKeith, aspires to be high-toned but only gets to the peak of a cliché slag heap.

Rather than dig into what’s specifically changing about their relationship, Duplass and Eslyn focus on armchair psychology and black-box speeches to explain away what’s really going on with these two men.

Like a less-cluttered Wes Anderson film, Amanda has quirky, precocious young characters who deliver aphoristic pronouncements in monotone, deadpan voices amid beautifully composed settings.

Once Upon a Time in Uganda is the advocacy that Isaac’s auteurship and ideology need most—this doc helps one re-appreciate movie-making as a compulsive, creative odyssey, a shot-by-shot pursuit of elusive inner peace.

Callbacks to other “Insidious” films are half-hearted, and “The Red Door” seems to give up on trying to make all of the pieces fit after a while. What does work are a handful of scares in the film’s first half.

Nearly every aspect of this feature from Tyler Spindel, formerly a second unit director for Adam Sandler's Happy Madison Productions, is derivative and desperate and, at the same time, bizarrely pleased with itself.

Whether you still know every word to “Wham Rap!” four decades later or only remember the British pop duo as “George Michael and that other guy,” you’ll find everything you want in the Netflix documentary Wham!

Mission: Impossible – Dead Reckoning Part One is just incredibly fun. It feels half its length and contains enough memorable action sequences for some entire franchises.

It’s an alternating series of frustrating choices, promising beats, and general goodwill for a legendary actor donning one of the most famous hats in movie history yet again. It should be better. It could have been worse. Both can be true.

Good scripts make you forget they are scripts. The script for Prisoner's Daughter is quite talky and never takes wing. You can almost see the words on the page, despite the strong efforts of Beckinsale and Cox.

Allowing us to luxuriate within the languid pacing of this slice-of-life story is actually refreshing during these big, noisy summer days.

This lively and engaging documentary could just as well be titled “The Labyrinths of Umberto Eco.”

A few compelling emotions and themes are suggested but rarely well expressed in Nimona, a sometimes cute but mostly hyper and overextended animated sci-fi fantasy.

The project of Anthem is special and compelling, but the documentary lets itself down.

One of the best family films of the year, Ruby Gillman, Teenage Kraken has humor and heart, buoyant energy, witty and imaginative visuals, and never-less-than brilliant voice talent.

Run Rabbit Run is a solid, spooky tale without anything too flashy like a Babadook to haunt our dreams and memes but chilling enough to make us sit up in our chairs and scan the screen for the next sign of danger.

Kijak's film can remind a new generation that, despite seemingly insurmountable difficulties, some of our queer forebears could find a little slice of happiness, despite living in a world that told them they were not welcome.

Despite the tragedy, Revoir Paris is a hopeful film about the healing power of human connection and mutual comfort. It’s the kind of movie that lingers in the mind long after the credits roll.

There are, to be sure, moments of shock. But they offer very little awe.

World’s Best succeeds thanks to the brisk pacing at 100 minutes and Roshan Sethi’s deft handling of the ups and downs of ‘tweenhood. The emotions are earned, and the playful tone accommodates the more serious reveals and complications nicely.

The film takes only a moment to discuss the success of its source material. In fact, it is only at the end of the movie that "Desperate Souls" reveals that "Midnight Cowboy" won three Academy Awards: Best Picture, Best Director, and Best Adapted Screenplay. Instead, the documentary spends too much time looking at the world around Schlesinger's drama.

While I applaud Gertner’s attempt to make an action-adventure anthem film for the millennial generation of young women around the globe, Sheroes falls prey to too many predictable tropes for action, adventure, thriller, and girl genre films.

If it wasn't for Lawrence and Barth Feldman's joint comedic excellence, with their commanding charm and chemistry fueling its laughs, No Hard Feelings would have been a disaster. But thanks to them, it's a serviceable summer comedy that should keep the J. Law lovers happy, even though her talents are better used elsewhere.

Lonely Castle in the Mirror is dull and overlong, weighed down by its heavy-handed and intense discussions about teenage trauma and loneliness.

Basically, if you’re a fan of sports cinema where an all-American lad goes up against a Eurotrashy adversary (Fignon even looks like the blonde-haired dude who tried to kill Bruce Willis in “Die Hard”) on a televised world stage, The Last Rider gives a nice, nifty portrait of a guy who goes through one hell of an uphill battle—both figuratively and literally.

The hazy horizons and warmth of the Wild West lend to stunning cinematography, but the bones of the visuals are not enough to support the film. Mandler’s direction is effective for the genre, but there’s a fatiguing number of posed cowboy-against-the-horizon shots that begin to feel kitschy on account of their frequency.

From both a technical and political standpoint, The Stroll is a tremendous achievement.