Den of Thieves 2 frequently feels less abrasive than the first film; almost kinder. At the same time, there's still a scuzzy, energy drink-infused atmosphere at play that only adds to the charm. This is junk food cinema, and sometimes, that's exactly what you're hungry for.

Arriving during Martin and Lewis' heyday, The Caddy is a fun slice of entertainment with enough wacky humor and bouncy tunes ("That's Amore!") to hold one's attention for 90 minutes.

It's Lifestyles of the Rich and Clueless in Ridley Scott's House of Gucci, an odd duck of a film that wants to serve you both a scrumptious gourmet meal and greasy fast food in the same bite.

A better director would have improved its flaws, or maybe pushed Sorkin to go through some of the elements and refashion them. "Being the Ricardos" needed a different voice; the one here profoundly, obstinately refuses to grasp the inner workings of the comic mind.

Crowley may be telling a melodramatic story, but he studiously avoids sentimentality.

Like its title character, this old hound finds new tricks and delivers a fitting "Peaky Blinders" coda that won't disappoint.

Though Munden attempts to overload our senses with rich visuals, The Secret Garden does end up feeling kind of slight, like the film rushed through the SparkNotes version of the story.

Sadly, as creative as The Silent Twins is, and as much homework as the filmmakers clearly did in replicating the details of the story and the works of the twins, the film never fully says anything meaningful. Not about the real Gibbons sisters, not about race, not about mental health and its treatment in the U.K.

Suspenseful, sinister and bittersweet, The Djinn is a cut-throat example of how effective horror can be with succinct decisions around dialogue and theatrics.

Godzilla vs. Kong is a film without pretensions. It knows exactly what it wants to do, and what it wants to do is have monsters smash buildings while they’re throwing punches at each other. It’s finally what this franchise has been building towards: a movie about monsters, not humans.

You might argue there's no redeeming value to any of this, and I won't fight you on that. And yet, the "everything and the kitchen sink" vibe of the whole thing renders Terrifier 2 an above-average slasher extravaganza. Watching this gives one the sense that they're watching something new, and that's a feeling you just can't beat. Whatever bloody adventure Art the Clown gets up to next, I'll be sure to watch.

No Hard Feelings is enjoyable because Jennifer Lawrence is still one of the most delightful actresses of her generation. (At one point, another character dryly dubs her "America's sweetheart," but the moniker does kind of fit in a sincere way.) She's well matched by Andrew Barth Feldman here; their performances are what make this film work.

This is ultimately a worthwhile musician biopic if only for Jeremy Allen White's thoughtful, tortured performance. He's so damn good playing Bruce Springsteen that you more or less want to forgive the movie its flaws.

Unfortunately, The Love Birds just isn’t that funny. Don’t get me wrong – Nanjiani and Rae are funny, and they try really hard to make this material pop. But the jokes fall flat more often than not, and the direction from Michael Showalter (who also directed Nanjiani in The Big Sick) is oddly lax, with scene after scene embracing the unstylish “point and shoot” approach.

Good Madam takes its time to linger on subtle and chilling notes before unveiling its fantastic finish. The only drawback to the film is it hints at more supernatural events than we ever see play out on-screen.

As a showcase for its legendary leads, and as late-night snack for those who like scores synthesized and their blood practical, it’s certainly a good enough time at the movies.

The Drama is a cinematic Trojan horse: it's a breezy farce that feels uncomfortably ominous, and it's also a star-studded romance movie which could set off a discourse bomb.

At the end of the day, this is Izzo’s show. Her performance breathes new life into a story we’ve seemingly seen countless times before, now made anew.

The Forgiven runs the risk of becoming a thoughtless movie about a vile white man who is taught a lesson by wise brown people, but McDonagh, who also wrote the script, manages to (mostly) avoid that with a subtle touch.

Will Nobody 2 set hearts aflame? No. If this had been the first "Nobody," no one would have been clamoring for a sequel. But it is a glorious Saturday matinée, a brisk trifle for the waning days of summer. It's the kind of movie that you'll remember better for the friends you saw it with than the movie itself. And that can be one of cinema's most important functions.

There's a big beating heart at the center of the movie that keeps you close to the ground and makes it an absolute triumph of twisted humor and love.

Were it just slightly more entertaining we might have something special on our hands. As it is, we have a sturdy, mercifully swift action pic that fizzles out instead of burning bright. It’s nice to have a movie as simple as this for a change, but it would be nicer if it were better.

It’s the unexpected amount of heart that ends up making Bad Boys for Life a pleasant surprise.

Sure, it's a lot of fun watching beautiful assassin Ana de Armas pick up a flamethrower and burn some dudes to a crisp, but a film featuring such an exciting concept shouldn't be this forgettable.

This is the truly subversive comic book movie we’ve been waiting for. Now that it’s here, we might start to regret the monster we’ve conjured up.

Giving a movie marks for not being as bad as possible is the same as giving someone a participation award. Could this have been worse? Of course, which also means it could have been a hell of a lot better. Maybe with a different director. Maybe with faster pacing.

Next Exit is a moody and haunting character exercise, centering around the terrific central performances by Katie Parker and Rahul Kohli, but a little underbaked otherwise.

Carmen is a largely enjoyable outing, fueled by a fresh take on the narrative and two leads with great expressiveness and a lot of on-screen chemistry. Barrera's dancing is truly beautiful, the choreography is inspired, and the gorgeous score pulls it all together.