The initial inspiration was clearly there, but the execution simply falls short.

Miss Bala fails both when judged on its own merits and when compared to its predecessor. Just like Gloria in the film itself, Rodriguez is the only hero here. She works hard to elevate the material, but both she and her character deserve so much better than this.

Where it surprises is in Bell’s fantastic performance and the fact it eventually stops becoming a laugh out loud comedy. It soon dives into much more of a heartwarming drama with a few random jokes thrown in.

The director resists the urge to make the family too heroic – in fact, his own character takes an unsympathetic turn near the end, which must’ve been a tough call. But it matters, because it renders his deeply-felt joy and pride at the picture’s conclusion all the more potent.

This is one of the most joyous and exhilarating movies you will see this year and because there is so much passion flowing out from the music, screenplay, and acting, you totally forgive the film when it strays into the predictable and even a little bit of corniness.

Orley’s direction is fine, and the picture is well made for a low budget indie, but Davidson is all you’ll really remember when you leave the theater. And for many, that’ll be enough.

Adam is a small movie, but it still feels like a big step forward for trans representation in film, which has lagged behind gay and lesbian progress made on screen in the last few decades. It’s as imperfect as its hero, but there’s still something to root for here.

Overall, “Fighting” works thanks to Merchant’s witty screenplay, Pugh’s transformative performance, Vaughn’s inspired off the cuff one-liners (likely improvised) and a cast that clearly respects the Bevis family story.

Apologies in advance, but for lack of a better descriptor the whole thing is a mess. It’s not even good enough to be a cult movie which is backhanded compliment anyway. But, hey, at least the actors tried.

High Flying Bird is often serious in how it deals with issues more substantial than just sports, but even beyond McCraney’s sharp, witty script, there’s a sense of joy here. The fun Soderbergh had making the film radiates off it, with this masterful movie that reminds the audience why we’re lucky one of the greatest living directors is still in the business.

Great cast, fun mysteries, well-crafted set pieces, and suspense for days isn’t enough to outweigh the crushing defeat felt at the end of Escape Room by the ludicrous ending that overshadows the proceedings.

Like its signature song (which has taken up permanent residence inside my brain), The Lego Movie 2 is fun and full of energy, but unlike the original, it’s not entirely memorable. Hopefully, its kind message will stick with kids and parents, even if none of the jokes do.

Most importantly of all: it’s funny. Really, really funny, consistently and constantly.

It’s not tolerable as even basic movie sustenance, or adventurous cuisine, and it’s a f*cking revolting mess.

Where King of Thieves fails its heralded cast is in its shifts in tone. We’ve been promised a fun ride with Caine in the driver’s seat, but the trip goes downhill too quickly.

The oily slick of sin across the surface of this film isn’t what makes it wickedly fun; it’s the utter devotion to its bonkers twist, at once defying logic and good taste. Serenity knows it’s trash, but that’s not to say that it’s not entertaining trash.

With her touching portrait of naivete and the necessity of “hard times,” Miller-Costanzo imbues a potent storyline with bursts of humor and hues of wonder, thus striking a chord of authenticity and comforting resonance within the viewer.

Interesting, funny, yet thin where it matters most, Tunnard’s film is nevertheless a good indication of promising work ahead.

In its first act, Close is a competent thriller, buoyed by early action sequences from director Vicky Jewson and some really solid scene transitions that point toward a strong style. However, as the film goes on, it switches from the precision of a sniper rifle to the scattershot effect of a drunk-wielded machine gun.

It may poke fun at Karen and Tina, but it never says that their choices around motherhood aren’t valid and deserving of happiness. Its ultimate sympathy for these women may be at odds with earlier jabs at them, but it creates an empathetic space that is surprisingly emotionally satisfying.

Little Woods isn’t always subtle, but the occasional lack of nuance doesn’t lessen the power of its timely themes or impressive performances.

In being such a simple, unshowy film, it avoids asking too many questions or digging for the larger truths writ large in the story of Fyre about our society, about celebrity and influencers and Instagram, and the patently manufactured lives that we’re taught to believe we can have.

Bolstered by a damn fine turn by Dorff, who carries most of the film, there’s more to like than dislike with this one.

In a Relationship lays out the director’s talents (working with actors and crafting tone) while also showcasing the areas where improvements can be made.

The Kid Who Would Be King blows the dust off an old tale, and makes it invigorating and inspiring for viewers who will be forming their own round tables of world-changers for generations to come.

Though anchored by strong performances that ultimately make it watchable, the surrounding film stumbles along thanks to a bumbling script that’s devoid of any originality.

While a few fun martial arts scenes pepper the effort, they are subsumed by an overall product that is riddled with plot holes, choppy cuts, laughable acting, and villains so evil that they’d make Skeletor blush.

Ultimately, Glass is a killer concept that suffers from a wobbly execution. Shyamalan nails the intimate stuff, but that third act is just bound to shatter and confound audience expectation.