While it’s not a perfect female-centric spy thriller (let’s keep trying), Atomic Blonde winks to the future with exciting possibilities.

Stupid, offensive and as substantial as a text message, this toxic piece of kiddie trash isn't worth the pixels.

To watch Bigelow’s expertly calibrated chaos during the riots’ escalation – nothing short of block-by-block guerilla warfare – is to witness something depressingly familiar to anyone who has seen the videos of today’s police brutality, of violently botched arrests and furious community responses, and worried that it would never get better.

Girls Trip is so successful because it lets its cast of improvisers ease into a bond that feels bone-deep.

Despite its creator’s puckish charm, the movie occasionally sputters and detours down dead ends. Still, the promise on display is impressive; consider the film a calling card from someone to keep a very close eye on.

Wish Upon claims to be based on the classic 1902 supernatural short story "The Monkey's Paw." In reality, it’s a mix of "Mean Girls," "Final Destination" and the "Insidious" franchise, the latter on which director John R. Leonetti worked as a cinematographer. You'll be wishing you were watching any of those other films.

Like its thematic companion, Orlowski’s 2012 doc on melting glaciers "Chasing Ice," the sober and urgent Chasing Coral is thankfully far from discouraging. Instead it’s a motivating wake-up call that makes one want to drop everything and join the onscreen crew, rebelling against today’s political priorities

This is welcome summer fare; if we’re going to have space operas, let them sing in the strangest accents possible.

The blend of humor, pathos and wall-crawling antics is perfectly judged. After a handful of overblown misfires, Marvel appears to have rediscovered its heart.

The monkey business is somber, brutal and utterly persuasive in this dazzling third entry of a sci-fi series that's only getting better.

An oblique history of ’80s disarmament laden with revealing off-camera asides, The Reagan Show makes the glossy surface profound. It’s the most crucial and unique doc of the moment, apart from the one that’s unfolding on the news every night.

The result is a supercharged piece of fun unlike any motorized choreography since John Landis destroyed a fleet of cop cars in "The Blues Brothers."

Clangorous and nonsensical, the fifth installment of the toys-to-world-saviors franchise still has a spark of grandeur that could only come from one director.

Alternately funny, touching, tough and hopeful, In Transit never tells you how to feel, but it sure makes it easy to feel it.

Given its multitalented cast, Rough Night should have committed to the darkness (originally, the screenplay’s title was Move that Body). In execution, the women are asked only for flop sweat and nervous jabbering. Party on.

The film gets so many exquisite details just right—the vacuous party guests, Hayek’s slightly self-righteous pose, the happy clink of the wine glasses—that it’s a letdown to realize the movie doesn’t have a proper ending. You take it home with you and argue about it.

The film glows with the kind of sweetness last seen in John Crowley’s "Brooklyn." All it asks of you is an open heart.

It’s all well and good for the under-12s, but this movie never packs the kind of emotional punch we know Pixar is capable of.

The Beguiled has its jolts and its laughs, but mostly this glides along like a mildly saucy yet poetically made parable, well-dressed, well-designed and well-performed.

The actors are what save it. Not only does Johnson build on his subversive 
persona of hulking, dim-witted likability, 
but he’s joined by Neighbors’ Zac Efron, today’s reigning king of the hazy one-liner.

A taut kidnapping drama, this ferocious Australian export leaves no doubt about the limitless potential of a handful of characters in close quarters.

An epic, often funny testament to creative fearlessness.

Put your fingers in your ears when the talking starts, and you might enjoy the view.

It Comes at Night is a film of tense gradations, a chamber piece set at the twilight of humanity.

As the film advances its more adventurous ideas about privacy, it suddenly feels like a lecture written by a twelve-year-old. Worse, The Circle ends precisely when it’s getting interesting; you’ll wonder if the production simply ran out of money. Movies about the dangers of rampant interconnectivity are welcome in this day and age, but let’s please make them a little more courageous.

You have to swallow some inadequacies to get the most out of The Promise. It is appealingly photographed and boasts some stunning location work, yet it’s also saddled with the tone of a biblical epic, invisibly watermarked with the label important.

A beautifully organized documentary (befitting its subject, urban planning), Matt Tyrnauer’s elegant profile sets up its iconic NYC showdown along geometric lines.

Built out of complex performances etched with economic flair, unobtrusive camera work and the faintest tinge of comic whimsy (the film’s score, by Japanese trumpeter Jun Miyake, is marvelous), Norman is an intimate film that simply has no drawbacks.