Many of the movie's scariest moments come from the skillful use of silence or the increasingly limited space the characters inhabit.

Kubo and the Two Strings is lovely to behold, if viewers manage to keep their eyes open. It's an animated doozy and drowser at once, an uncomfortable mix of Miyazaki-style imagination and generic dullness.

Hell or High Water is a terrific piece of entertainment.... It isn't a highbrow indie but a gritty work of art. Mackenzie's movie thrills for all the right reasons and will be fondly remembered at year's end.

The movie is something of a shaggy dog hangout film, albeit one that literally features a shaggy dragon.

The man's goodness and his support team's devotion are quickly obvious; Gleason is nearly two hours long. Tweel could get to every uplifting turn his movie makes a bit sooner.

It's good to know Solondz hasn't lost his ability to shock, or his indifference to anyone thinking he goes too far. Wiener-Dog is gentler material than usual for him, sweet, even goofy at times, yet no comfier than a sandpaper hug.

James Schamus makes an impressive directing debut with Indignation, an oasis of summer movie intelligence.

Is it funny? Absolutely. Sausage Party also gets a bit exhausting, even running under 90 minutes. We're hearing essentially the same dirty jokes over and over, in a movie saved by its brilliantly filthy finale.

Florence Foster Jenkins is too much old-fashioned fun to saddle with ideas. Just sit back and let Meryl screech.

It's the garish swarm of colorfully twisted action that Batman v Superman needed, the anarchic approach such timeworn superheroes deserve. Suicide Squad characters aren't nearly as familiar, so writer-director David Ayer's movie is also messy, not entirely by design.

Vittorio Storaro's cinematography is superb, casting gauzy glows and sensual silhouettes against impressively designed sets. Allen drops a few philo-cynical lines worthy of his reputation but not nearly enough.

The R-rated Bad Moms channels the raunch in a liberating, hilarious way.

What could be a cash grab turns out to be the series' finest chapter, with the same piano-wire tension plus a narrative clarity lacking before.

Anchored by Viggo Mortensen's prismatic portrayal of Ben, this is one of the summer's nicest movie surprises, and among its wisest.

Lin siphons elements of his previous gig into this one. More precisely, he accentuates the existing "family" dynamic of Star Trek, leading to genuinely earned lumps in Trekker throats.

Ghostbusters is back, it's not bad, get used to it.

The Infiltrator is an evocative crime drama, anchored by Cranston's gift for playing internal conflict with wordless expression and that deep, clinched voice.

The Secret Life of Pets is funnier than Zootopia and fresher than Finding Dory. Bonus points for a genuinely touching finale that had me crying behind my 3-D glasses.

Filmmakers simply can't make Tarzan like they used to. If someone tries, like director David Yates did with The Legend of Tarzan, he's just another superhero, swinging on vines rather than spider webs. Natives can't be restless. Lions won't be wrestled...Tarzan fans leave feeling Cheetah'd.

Spielberg doesn't pull heart strings as much as push the right buttons, dutiful to an undercooked story. The BFG begins like a classic fairy tale and ends with helicopters and fart jokes, a tonal dissonance that is Dahl's fault, not the film's.

Fails both as a film and even as fan service.

Anyone visiting Free State of Jones merely hoping to learn more about an interesting anti-slavery rebellion will likely come away sated, but those looking for an exciting, vital piece of filmmaking will have to wait for another opportunity.

An efficiently preposterous thriller.

What truly makes The Neon Demon frustrating is Refn's undeniable talent for arresting images. His color schemes and framing make each second fascinating to observe, even when the dialogue is stultifying.

Finding Dory is a good sequel to a great film, and perhaps that's all fans could hope for.

What makes Central Intelligence appealing in appalling times is volcanic chemistry between Dwayne Johnson and Kevin Hart.

The Conjuring 2 is serviceable horror, heavy on the audio stings yet smarter than the average gorefest.

For their next act, the illusionist con artists from Now You See Me will make every ounce of goodwill that movie earned disappear.