This movie isn’t just fun; it’s sincere and sweet and downright inspiring.

The Infiltrator isn’t necessarily bad, it just has nothing unique, compelling, or memorable to offer in its over two-hour runtime.

Warts and all, the new Ghostbusters is still one of the best tentpoles of the summer (admittedly, that’s not saying much). It doesn’t tarnish the legacy of the original movie, and its own legacy might have been even stronger if it hadn’t worried about paying homage to the old Ghostbusters quite so intensely.

It might not be remembered in years to come, but it’s good family entertainment, and sometimes that’s enough.

The Purge has become the new "Saw" franchise: What began with a simple, contained thriller has escalated to outrageous, bloody chaos. And while James Wan’s feature debut was a bit more effective than DeMonaco’s first Purge outing, the latter has Saw’s diminishing returns beat with a recognizable (and coherent) mythology and increasing entertainment value that doesn’t rely on torture porn for thrills. That doesn’t make it any less silly, however.

The Legend of Tarzan is too boring to be truly offensive. In spite of some impressive hand and brow acting, Skarsgard’s Tarzan is a frustrating blank and Margot Robbie’s Jane is a simple damsel in distress.

The BFG’s sluggish pacing will test even older viewers’ attention spans. The visuals are potent, but the story is never urgent. The crux of the movie, inspiring people to dream, is a noble, beautiful thing. But not when you put them to sleep in the process.

Set to an electrifying score by frequent Refn collaborator Cliff Martinez (which may be his best yet), The Neon Demon is as deceptive as shattered glass, with a brilliant beauty so mesmerizing that you don’t notice its murderously sharp edges until you’re bleeding all over the floor.

The last thing America needs is a historical movie correlating white people problems with those of people of color.

Independence Day: Resurgence is a bad movie, occasionally in ways that are good for a chuckle, like when people earnestly deliver lines like “Now listen up! They’re going for our molten core!” but mostly just bad in ways that make you wish you hadn’t wasted your money or your time.

Surrounded by so many bloated, unsatisfying movies, The Shallows is as refreshing as a quick dip on a hot summer day — preferably in a pool, not the ocean. They tend to be safer and less shark-infested.

Tickled is a fantastic film to watch and discuss but it’s almost impossible to write about it, because most of its pleasures come from following Farrier as he tries to find the powerful figure atop the Competitive Endurance Tickling league.

This is a much better comedy than it is an action movie.

Even in its slightly rambling, Spielberg-less form, Raiders! moved me in ways I did not anticipate. Zala and Strompolos’ Raiders: The Adaptation remains an incredible piece of fan appreciation, and a true work of art in its own right.

Now You See Me 2 is an essential example of how inessential movie sequels have become. It ignores what was good about the first film, abandons its defining characteristics, and tells a story nobody asked for.

Dory is an entertaining and heartfelt sequel, but it never quite shakes the feeling that Pixar, a studio known for breaking new ground in animation, is retracing its steps this time out.

If The Conjuring is an example of the haunted house movie done right, The Conjuring 2 is an example of everything gone wrong. You can only retread old tropes so many times.

You may not particularly enjoy Warcraft, but you kind of have to admire the audacity of its existence.

True, Out of the Shadows is an improvement over the last Ninja Turtles movie, but only in the way that a mild cold is an improvement over the flu. It’s not good, but at least it’s not so terrible that it makes you want to lie in bed for a few days.

Popstar feels a bit like elite military snipers shooting fish in a barrel. Their aim is true, but the targets are almost too easy — not to mention awfully familiar.

Bobin’s visual palette merely hikes up the contrast of every scene, as if enough color might mask the frail narrative beneath.

A movie that explores the full spectrum of relationships with impeccable wit, delightfully dark humor and insights so sharp they verge on deadly.

If Angry Birds fully embraced its message, it could have been a refreshing surprise. But like the mindless video game that inspired it, there’s little here beyond fleeting satisfaction.

Black’s general atmosphere of resigned melancholy fits perfectly with The Nice Guys and its portrait of sleazy 1970s Los Angeles, the ideal setting for a filmmaker interested in faded dreams and broken dreamers.

Clooney and Roberts are both good fits for their roles, and they do what they can with the material they’re provided. It’s just that the material they’re provided is so crummy.

13 years later, the X-Men are bigger, and the effects used to bring their powers to life are even more convincing. But what’s missing at this point is that sense of awe and wonder from those early days. For all the fighting and blasting and bamfing, we’ve seen it all before — sometimes literally.

This entry won't win any new converts, but anyone already invested in this series is going to have a blast.

It may not be as poignant a story as its characters give way to, nor reach the cathartic resolutions it builds towards, but The Family Fang is still a refreshingly creative approach to the family drama.