Because of its cast of young men being buff and hormonal and good at their jobs, one could say that Only the Brave is the Top Gun of firefighter movies, the difference being that the new film feels like it's embedded in reality rather than in an aerial wet dream.

Although concentrating on delivering easily digestible situations and scene progressions, Landon does demonstrate some enticing visual flair that gets rather diminished by the repetitiveness of the plot.

While Brosnan has quite a few opportunities to show his acting chops, Chan makes do with less.... In any case, it’s good to see Chan swapping his happy-go-lucky persona for two hours for some gravitas as a tragic rogue with a marked past.

Charged never simplifies Eduardo’s nature or the key relationships in his life. We end up appreciating his charisma and marveling at his resilience without ever seeing him as a paragon.

A bouncy attempt to get a handle on the fast-changing state of things for pot smokers in America, Peter Spirer's The Legend of 420 wears its sympathies on its sleeve without coming off as a complete lightweight.

While the main characters appear to have been given a bit of Powerpuff Girl sass by screenwriters Meghan McCarthy, Rita Hsiao and Michael Vogel, it ultimately does little to goose the limited hand-drawn 2D animation.

Trafficked proves reasonably effective for educational purposes, with statistics and information about how to help inevitably projected during the end credits. But as a thriller it’s plodding and predictable, not distinguishing itself from the seemingly endless other movies dealing with the subject that have been released in recent years.

Ultimately, of course, Wakefield himself is beside the point. The controversy over vaccinations will rage on and this cinematic portrait will merely be a footnote. But it proves a compelling one, however you may feel about the burning issue.

Demented absurdist comedy that doesn’t just push the envelope in terms of offensive and disgusting content, it folds it neatly and uses it for toilet paper. Desperately striving for cult status that it will never achieve, Assholes could be described as forgettable. Except, sadly, it isn’t.

Most magically, it transcends the colossal power of its own story to show how individual beings, one step at a time, can right the course of inequality and injustice.

Strong performances and outstanding cinematography aren't enough to rescue an unfocused and episodic screenplay, which will leave many stranded in a purgatorial cinematic-halfway house between bliss and despair.

Few genre fans will fail to guess the direction in which this is heading. All viewers, though, will scratch their heads at a final plot point, an unnecessary gesture at odds with any conceivable motivation.

Involving and poignant if sometimes less informative than it might be.

The expertly shaped narrative zigs and zags like the most dexterous board rider between Southern California and Hawaii, with detours to Bermuda, Tahiti and briefly to Europe for one particularly amusing daredevil adventure.

Instead of improving on the original's visualization of the liminal state between life and death, director Niels Arden Oplev turns the conceit into just another excuse for rote haunting, making this Flatliners often indistinguishable from its 2017 thriller peers.

As a contrast to Gosling's deliberately deadened, emotionally zoned-out turn, Ford almost single-handedly amps up a film otherwise intentionally drained of character vitality.

It feels like a gift from one outstanding character actor to another, but never one that indulges the thesp at the expense of the film.

Don’t Sleep practically begs audiences to defy its ill-chosen title.

Nowlin’s performance...is a marvel of inner turmoil and physical exertion.

Despite poignant moments, particularly in the performances of Steve Carell and Laurence Fishburne, the weave of somber introspection, rueful reminiscence, irreverent comedy and sociopolitical commentary feels effortful, placing the movie among the less memorable entries in Linklater's canon.

Sensitive performances from the young cast ensure that the story ultimately acquires poignancy, and the arresting physical setting helps disguise the familiarity of some of its coming-of-age signposts.

This is a wondrous and moving account of a remarkable life that puts us right there with Goodall to share directly in her discoveries.

Questions of musical taste (as opposed to hit-savvy reading of the zeitgeist) aside, Soundtrack of Our Lives does offer an informative primer for anyone unfamiliar with the scope of this truly impressive career.

Neatly divided into seven discrete chapters plus prologue and epilogue, it's a necessarily repetitive but engrossing and ultimately optimistic glimpse into a troubled situation entering belated turnaround.

This is certainly an entertaining-enough watch, even for those without much rooting interest in Gaga.

This stylish chamber piece plays like a cross between Ex Machina and The Tree of Life, mixing a cleverly conceived biotechnical fable with sun-dappled sentimentalism that doesn’t always resonate like it should.

Although visually stylish and imaginative — the short bits of animation on display wouldn’t be out of place in a Tim Burton film — Friend Request gets less interesting the more it goes on.

Exhibiting all of the same weaknesses as its predecessor, as well as a fatal lack of originality, this iteration will probably mean the nail in the coffin for this smugly self-regarding series, at least on the theatrical circuit.