It all feels a touch schematic, trying to satisfy every audience type, when each haircut is different. Barbershop: The Next Cut actually ends up in the chair, with a highly symbolic snipping that could have come straight outta the 1950s.

First you laugh at McCarthy’s harshness in front of the kids, who aren’t used to her screw-the-competition ethos, then you sigh realizing this is no School of Rock.

By allowing viewers to step into the shoes of a wall-climbing Jackie Chan, a parkour-sprinting Daniel Craig or a bullet-spraying Ahnold, it does something that live action has never attempted before. The carnage flies—it’s possible to miss a lot of it. But if action movies are meant to be stunning, Hardcore Henry can proudly take its place among the giants. Even better, it lets you stand with them.

As scripted by Bryan Sipe, Demolition buries its lead actor under a rubble of clichés.

A hilarious, deeply relaxed comedy about male bonding, Richard Linklater’s baseball-minded latest ranks right up there with his masterpieces.

If you loved the first one, you’ll happily sit through this one. It’s just not quite as good.

If there’s any justice, dawning or otherwise, at the multiplex, audiences will reject Zack Snyder’s lumbering, dead-on-arrival superhero mélange, a $250 million tombstone for a genre in dire need of a break.

Midnight Special is a movie worth believing in. It's an alternative to the assembly line that turns hot young directors into purveyors of the latest shade of superhero spandex. Little here feels like science or fiction but sci-fi is exactly what this is, from the heart and out of this world.

[Farhadi and cowriter Mani Haghighi] prove to be stronger on atmosphere than on structure, aided by crisp, unnerving camerawork.

What it lacks in cohesion, City of Gold makes up for in its subject’s wit and wisdom.

Basically, it’s an electrifying three-person play, as the determined Winstead, the complexly furious Goodman and Tony-winner John Gallagher Jr. (playing a lucky neighbor who made his way down) have it out in scenes that impart the nauseating futility of George Romero’s mall-ensconced "Dawn of the Dead."

With a plot that plays like a string of incidental encounters, The Meddler could easily have felt like a glorified sitcom. But its heroine’s grief, her goodness and her complicated relationship with her daughter all feel so lived-in and true that the film stays grounded.

Robustly entertaining.

As the film totters to its predictable finale, the closing moments set up a sequel, a prospect far more terrifying than anything we've just seen.

Eddie the Eagle may suffice for a brainless Friday night, but an honest account would have been a lot more memorable.

Race is the most timid, lackadaisical movie that could have been made out of potentially classic material.

It’s not often that faith-based films, competing in the same marketplace that rewards action, embrace the deeper, more difficult idea of meeting hate with love, but Risen tries. It’s a drama that neither seeks to convert viewers, nor confront true believers with anything uncomfortable—only reaffirm their bedrock convictions, the ones that are worth repeating.

Nothing here will blow you away—think of this one as taking baby steps away from what's formulaic.

Visually though, Kung Fu Panda 3 is a candy-colored 3-D treat.

It’s an intelligent and intriguing meditation on issues concerning what it means to be Chinese in today’s and tomorrow’s world.

Romance, tragedy, toned bodies, conservative values: It can only be the latest from Nicholas Sparks.

It doesn’t seem new for them, yet as super polished, mannered, slightly surreal comedies go, the movie feels as rare as a unicorn.

A ridiculously infantile film, one that flatters itself by intimating a deeper comment about suppressed masculinity or romantic passivity.

En route to the harshest, most unremittingly bleak film of his career, Solondz unleashes some of his sharpest commentary on human mortality and regret.

Like an updated The Commitments in rouge (liberally applied), Sing Street nails the details.

The story is a little slight compared to the grand romantic ache of Pride and Prejudice, but Beckinsale and Stillman do their inspiration proud: Finally, a Jane Austen movie that's fresh and deliciously rotten at the same time.

If [it] doesn't feel quite as revelatory as Keep the Lights On (2012) or the heartbreaking Love Is Strange (2014), it still impresses you with its quiet, confident maturity.