Teen Titans GO! to the Movies never wears out its welcome, from the hilarious skewering of some of DC’s most sacred cows (Kryptonite, Crime Alley) to a range of musical numbers that include an 80s-style you-can-do-it anthem (compete with sax solo) and hip-hop-flavored self-aggrandizement.

In a landscape with few movies for families, and even fewer for tween girls, Are You There God? It’s Me, Margaret is a fantastic entry. Heartfelt, compassionate, funny, and frank it has the makings of becoming a new classic in the film canon.

The Infiltrators is eye-opening on both sides: It delivers an encouraging example of the power of a united people, and it opens a window into the abuses and inhumane separations that are carried out under the guise of protecting the nation.

An ugly and frequently hilarious descent into all things repellent, the debut feature from director Jim Hosking plants itself firmly in a world of filth and shock.

This film, though not formally revolutionary, is the type of defining, delicate portrait that moves beyond the often tiresome trend of music documentaries that simply shower praise on their subjects.

A witty, intelligent, and entertaining view behind the scenes of a late-night talk show.

Stolakis is not afraid of complication.

It Comes at Night is not a horror film, though it is horrifying, mining the depths of paranoia and fear when unknown forces intrude on domesticity and create desperate rats out of otherwise reasonable human beings.

A Ciambra is intimate and documentary-like, approaching and then backing away from larger issues of marginalized and immigrant communities, showing rather than preaching, and most importantly, prioritizing Pio’s adolescent face and the way his eyes scrutinize his surroundings as they constantly look for opportunity, weak spots to break through.

In its happiest moments, The Movie Teller is glorious and yes, a little corny; in its darkest ones, it’s still lovely and sad.

Unhinged and witty, Slack Bay is one of those rare movies that looks like it was fun to make, and is even more fun to watch.

It’s hard to say the name "Captain Underpants” without smiling, and the big-screen debut of the skivvies-clad superhero (the film’s subtitle is “The First Epic Movie”) maintains that same goofy, innocently naughty nature for nearly its entire running time.

Small Things Like Things is a modest gem.

If “Greece” is the end of the “Trip” saga, as all involved say it will be, it’s a satisfying and even touching way to wrap up a decade-long demonstration of the proposition that all it takes is conversation to be entertaining.

Willfully empty but wildly entertaining, The Equalizer stands out from its peers like a wolf among lapdogs, as Fuqua and Washington bring out the best in each other for the benefit of the audience.

Like a perfect cocktail mixes the sour with the sweet and the bright with the boozy, Focus combines seamless, superbly-crafted filmmaking with the fizz and fun created by its leads.

Made of equal parts mourning and melancholy, mystery, and possibly madness, the striking Tom at the Farm showcases Dolan’s abundant talents at turning seemingly simple material into a taut, tough film.

It may not provide the rush of adrenaline that many people seek from their horror movies but Mr. Harrigan’s Phone is a smart and elegant piece of creepiness.

Things as subtle as how Garland pronounces the word “wonderful” are not missed by the exacting Zellweger, who has brought the legend to vivid, full-color life. Even if she can’t quite match the beauty of that famous voice, Zellweger captures the spirit of how Garland sang.

What’s lovely about the best scenes in This Is Not Berlin is the sense Sama captures of all the possibilities opening up for Carlos.

A few of the self-referential gags get recycled one too many times, but an exuberant buoyancy — and the belly-laugh-a-minute pacing of the jokes — makes 22 Jump Street a hilarious highpoint of an already quite funny summer season.

Given the film’s abridged runtime and its genuine playfulness, even Wes-skeptics might find themselves cracking a wry grin from time to time.

The more we are taken on this journey through Grace’s early foray into adulthood, the more it earns its classic coming-of-age beats while also cutting into something deeper it can call its own.

How to Make a Killing has the acuity to know that even if you are willing to play such a rigged game in ruthless fashion, you’ll still lose. The film’s magic trick is taking this bleak idea and knowing how to find the fun in such brutal sport.

The film boasts all the cinematic strengths we’ve come to expect from the animal-focused nonfic label... But director Mark Linfield’s film is also distinguished by its fascinating focus on the rigid but not immutable social hierarchy of the macaque world, as well as a smartly structured story of repression, rebellion, and triumph.

Fayyad’s cameras roam freely through the hospital and paint an intimate picture of the facility in which many of the patients are indeed children who’ve grown up under the shadow of warplanes. The footage of injured children and malnourished babies is wrenching and hard to watch, to the point where you wonder how Dr. Amani and her colleagues can fail to succumb to hopelessness and rage.

Mickey and the Bear is an impressive feature debut from Attanasio, one that shows a lot of promise in the way her movie explores characters and uncomfortable stories. When coupled with Morrone’s deft performance, Attanasio gives her lead character so much life and vibrancy.

Movies don’t get much juicier, funnier, creepier, sadder, or smarter than writer-director Justin Kelly‘s King Cobra.