In capturing childlike wonder through Pete’s eyes, this film has more than a few heartbreaking moments regarding the definition of a home and the people (or fantastical creatures) that give it life. And by keeping things relatively small-scale, David Lowery’s studio debut retains a personal touch with an unceasing supply of magic running through its lovable, full-hearted soul.

The characters are just complex enough and the action is just engrossing enough to keep us interested, but Henry Joost and Ariel Schulman, working from Jeanne Ryan’s novel, haven’t quite built a solid-enough foundation to foster a genuinely compelling commentary on today’s social media obsession.

Simultaneously pretentious, mind-numbingly tedious, and dizzyingly incoherent from scene to scene, Jason Bourne is the definition of diminishing returns.

It’s another well-made, culturally specific zombie film, but it could have been something much more filling.

Ends up probing largely universal quandaries to lackluster results.

I bet another viewing would reveal missed details, but the threat of being wrong and finding myself enduring the slow, quiet madness again scares me.

Author: The JT LeRoy Story is wildly entertaining and truly stranger than fiction.

What could very easily be received as an irritating, pretentious feature debut is actually a display of controlled madness full of astute touches.

Bolstered by the mythology it builds and scares that rarely feel cheap, it shows even wide-release horror doesn’t have to be a groan-inducing slog — and you’ll definitely think twice about turning the lights out.

The rebooted Star Trek film series finally hits a fun median between big-budget bombast and classic Trek bigheartedness with Star Trek Beyond.

While a romance on its surface, Catherine Corsini‘s Summertime is really about freedom.

While Zexer might not yet have a directorial voice, her story sense is sharp.

Shim’s direction grows more confident as he expertly delivers genre thrills and moral dilemmas.

Sadly, as has consistently been the case with his recent film work, The Infiltrator gives Cranston basically nothing to do.

This is spare-but-effective filmmaking.

While not terribly insightful, passages are undeniable electric as Robbins captivates an audience that has plunked down a lot of cash to see him.

Hooligan Sparrow struggles with the entrenchment of injustice both thematically and narratively, as it can’t quite find a way to cohere its story beyond sticking to the time Wang was with Ye. But that doesn’t diminish the courage of either filmmaker or subject.

Microbe and Gasoline reaffirms that Gondry has a talent for visually dynamic work about the losses of growing up. Like a faint childhood memory, the film feels formative, but inconsequential.

Mike and Dave Need Wedding Dates is a funny-enough summer comedy that never quite breaks free from the countless raunchy iterations that have come before it.

Don’t Blink is the rare documentary both vague enough to whet your appetite and specific enough to imbue a sense of kinship with its subject, like an old friend from camp you haven’t seen in decades. Like Frank himself, the film chugs ever forward as an elaborate, chaotic, grumpy, optimistic mess.

While it doesn’t quite reach the height of laughter or thrills of Feig’s best work, Ghostbusters has a persistent dose of rollicking, scrappy fun that the ideal summer blockbuster should contain — all the way past the last credits.

A tribute to a humble and fascinating man, Richard Linklater: Dream is Destiny offers some unique insight — though for followers of Linklater’s career from his first feature It’s Impossible to Learn to Plow by Reading Books, the film may offer very little new window into the man.

While there’s rarely a story beat that isn’t expected, there’s just enough humor from its all-star comedy voice cast to enjoy the journey.

It’s extremely saccharine and obvious in its progression, but I’m not sure you can truly say it isn’t real where the emotion is concerned.

In Order of Disappearance is filled with so many twists on what you expect that it feels refreshing.

Giuntoli and Simmons do very good work to help make the film a successful comedy worth a look, but they can’t help being overshadowed by Flula’s larger-than-life personality.

DeMonaco has his finger on the pulse of our struggle and has found a way to put it onscreen as all good horror does. Sure he and Jason Blum are making money, but you cannot deny they aren’t also forcing us to acknowledge the social science at play.

These young actors are superb in their roles, each embodying the complexities of early teen life and the adult struggles they face without the maturity to appropriately handle.