Shrek 2 may be computer-generated, but its innate heart and glorious sense of mischief make it one of the best and most humane movies of the summer.

Immensely entertaining and provocative.

It’s a posthumous gift to Päffgen. Even her death, shown here as Nico leaving her house on a sunny Ibiza day, bike in hand and a colorful door closing behind here, is presented with a sense of grace. Nicciarelli spares us nothing but still gives her dignity on way out.

What starts off as a tribute turns into an autopsy of a long marriage as seen by the kids who witnessed the best and worst of it, done with humor, anger, hindsight, and empathy. Then it makes a hard left and examines the way that legacies, even ones with the best intentions, have a way of shaping us and sometimes setting us back and always, always leaving us with lessons to repeat or refute.

All the actors come up aces. And let's bottle the delicious byplay between McCarthy and Byrne, whose comic timing is bitchy perfection.

What makes the film distinctive, devastating and unforget-table is the way De Palma lets the actions of the characters speak volumes. There is no conflict between what De Palma and Rabe are trying to say. But their methods are different. De Palma shows; Rabe tells...This is a portrait of hell so harrowing it’s impossible to shake.

Here’s a powerhouse of a documentary that makes you feel mad as hell and unwilling to take it anymore.

Remember how the original John Wick snuck up and wowed us in 2014? Now he's back and better than ever. John Wick: Chapter 2 is the real deal in action-movie fireworks – it's pure cinema, an adrenaline rocket of image and sound that explodes on contact.

It’s a memory piece, evoking a specific time, place, and political crisis in a way that is indelibly, achingly personal.

Works enough miracles of 3-D animation to charm your socks off.

The premise is a perfect opportunity to take a cold, hard, genre-inflected look at the American experiment’s current slouching toward self-destruction — the only question is whether Garland’s wild potboiler wants to explore or exploit our state of the nation, and the jury’s still out on that.

Side Effects is Soderbergh in full, flinty vigor. It's anything but a formula murder mystery.

The Stunt Man is a bravura piece of moviemaking — a true popular work of modernist art. It makes the audience experience the uncertainty of the contemporary world in a visceral, often hilarious way.

Unfortunately, it’s those same feelings that stick in the memory when López Estrada overdoes the melodrama and lets the plot fire off in too many directions. No worries. Diggs and Casal will keep you riveted.

A mesmerizing look at an asthmatic, rich-boy medical student in the act of discovering his insurgent spirit.

The Wolfpack is frustrating in how much it doesn't tell us about the Angulos and the legal tangle that comes with their release. But once you've met these kids, you won't forget them — or the film that puts a hypnotic and haunting spin on movie love.

This unnervingly funny and quietly devastating film -- director Todd Field's first since his smash 2001 debut with "In the Bedroom" -- pulls you in like a magnetic-force field.

The film's relentless pummeling grows wearying at 135 minutes. The first Terminator, a half-hour shorter, was leaner and meaner.

It’s bone-chilling romantic cringe-comedy, in the form of a public nightmare. And for a split second, a movie so dedicated to getting under horror fans’ skin truly succeeds in making you want to crawl out of yours.

Scenes move from hurt to resigned laughter and ring poignantly true. The heroically unfashionable result is a minor but distinct pleasure.

Kudos to the Russo brothers, Joe and Anthony, for directing the hostilities for maximum impact and without neglecting character. Their thundering epic is also smart, snappy, politically savvy and blessedly fast on its feet.

If you can say nothing else about this free-form valentine, it’s genuinely eye-opening.

This stuff is golden. Directors Brett Morgan and Nanette Burstein make sure the movie goes down like potato chips. It's great fun and compulsively watchable. And don't leave before Dustin Hoffman makes a hilarious appearance as the credits roll.

Delivers more suspense than a tombful of mummies.

Campbell Scott swings at one of the year's juiciest roles and knocks it out of the park.

I could have done more with the edgy humor of "Diner" and "Tin Men" and less of the mythmaking of "Avalon."

But Stone has found in Cruise the ideal actor to anchor the movie with simplicity and strength. Together they do more than show what happened to Kovic. Their fervent, consistently gripping film shows why it still urgently matters.

Though Macdonald offers the sight and sound of Whitney in interviews and home movies, she is never heard grappling with the grave issues the film raises.