It’s a crowd pleaser of a film, whose powerful musical moments can overshadow any smaller issues within the film.

This kind of vérité surrealism doesn’t come along very often, and the glorious oddness that Zurcher manages to infuse into even the most routinely domestic activities is really the gift the film keeps on giving.

Elusively told to the point of irritation, joyless and shot in chilly incarcerating rooms, War Story has the look and feel of an exhausted ashtray and borders on the pretentiously unclear.

It's mythmaking for dummies, a Hercules with no poetry, only incompetent brute strength.

Alive Inside contains a tiny revolution within its message, and will likely end up being one of the most important documentaries of the year.

The Kill Team doesn't saint Winfield at all, instead, smartly casting responsible, impartial questions as to what his options could have been.

Gunn’s careful to keep the focus on the central five, but certainly proves himself capable of the bigger canvas. The film really pops visually, with an admirably bright color palette (DP Ben Davis doing excellent work), and though there are occasionally some geography issues, the action is mostly satisfying.

It's basically the perfect summer movie, because it's designed to be.

Made in America proves that the American dream is undeniably powerful, even to those who have accomplished so much that they have to appreciate it in a form that borders on the abstract.

Tired, lazy, incongruous, shocking and hilarious in all the wrong places, Rage is destined for the graveyard television slot, squeezed between infomercials for mops.

You wish Evelyn Purcell's action thriller just had a bit more character, and not a budget-cutting location that looked great in front of a camera.

Magic In The Moonlight is good in many regards, and mostly enjoyable for most of its 97 minute running time. But it’s also admittedly uneven in spots, familiar and ultimately a bit slight.

This one veers further from actual horror into an action picture. “The Purge” tries to unsettle. The Purge: Anarchy wants you to cheer.

At 100-minutes, the movie drags and drags until finally losing steam in the last act and then collapses into a pile of worn out platitudes, limp gross out gags and gooey sentiment.

The actions and events are naked to our eyes, not couched in reasons and justifications, not softened by explanations, by words.

The Batterered Bastards of Baseball is an entertaining celebration of the independent spirit and the love of the game.

The film is generally undramatic. However, that’s hardly a criticism — while Closed Curtain digs deep into the psyche of an artist, it also is full of the ordinary, organic life moments that have populated Panahi's work since the beginning.

In truth, the deeply absorbing and thematically rich ‘Apes’ sequel is more akin to a drama than an action film, but it's one that still satisfies the desires and demands of big, blockbuster filmmaking.

A minor effort at best, and disappointingly lacking a sense of energy or intent, Me And You is Bertolucci exercising his filmmaking muscles, but not flexing them.

The specificity of the documentary, staying within the walls of the boot camp for virtually the entire movie, is one of its biggest strengths since it is able to place you right alongside these kids.

Planes: Fire and Rescue serves as a dramatic improvement over the original, introducing thrilling action sequences backed by actual stakes and an unexpected emotional dimension, all on top of upgraded animation and a greater emphasis on character.

What it lacks in cinematic girth, it makes up for in factual appeal.

It's all fist-pumping anti-thought, consisting of baseless revisionist history and idle contrarianism.

All in all, Earth to Echo is passable family entertainment, neither unforgettable nor particularly bad.

In Bana and Ramirez, who share a palpable bro-mantic, odd-couple quality, the film finds its most charismatic element... but shoves it aside to deliver a movie that will dully meet the barest of expectations instead of trying to exceed them.

Tammy is a boring, unfunny road movie that limps along idly, consisting of a string of nonsensical set pieces and halfhearted stabs at character development that come across as off-putting and odd.

The ensemble is perfectly cast (a rarity for this genre) which helps to make the first half a delightful slow burn instead of a check-your-watch-until-the-carnage-starts.