There is no lack of Disney-fied melodrama, for sure, yet Queen fights through all that with outstanding acting, deft filmmaking choices and the introduction of a new talent in Madina Nalwanga.

While it unabashedly leans into its chick-flick nature, returning director Sharon Maguire — who helmed 2001’s franchise-starter "Bridget Jones’s Diary" — manages to craft the strongest and funniest film of the series.

Snowden’s a polarizing whistleblower portrayed as an American hero here but in too pedestrian a fashion for such a hot-button topic, and the movie seems at times as awkward as its brainiac subject.

Hanks invokes gravitas, deep introspection and even sly wit as Sullenberger, yet the one thing he can’t make up for is the distinct lack of onscreen danger in what could be considered a decently tame disaster film.

Well-acted but often painfully melodramatic.

Even though the film can’t focus on one subject, Hands of Stone does boast notable performances from its leads, especially Ramirez.

It is definitely the summer for talking animals taking over the cinema, but Kubo manages to rise above the rest of its peers with a wondrous coming-of-age tale full of ancient soul.

The film is loaded with a gripping plot and enjoyably sketchy characters but hobbled by an uneven tone that ricochets between zany comedy and serious crime thriller.

Packed with surprising depth as it utilizes complete lunacy and clever bites to cobble together something wholly different in the cartoon space, even though at times the wacky film does itself a disservice by aiming for shocks rather than smarts.

All one needs to grasp is the hope and inherent magic of a kid and a dragon being BFFs, then let the feels flow from there.

Compared to its ilk, Suicide Squad is an excellently quirky, proudly raised middle finger to the staid superhero-movie establishment.

The movie is a by-the-numbers action film that's not nearly as strong as its Damon-led predecessors.

The galactic adventure might be an uneven one, but the combination of gravitas, a little mirth and old-school Trek themes makes Beyond a decently entertaining trip to the final frontier.

McCarthy and Wiig are solid as the two pals who have to mend fences amid paranormal goings-on, but Jones is great as the quartet’s boisterous voice of reason and McKinnon is the film’s biggest and quirkiest standout.

Secret Life anchors itself on an oh-so-familiar concept but sparkles most when imagining some of its crazier shenanigans.

While it looks great with its gorgeous computer-generated foliage and realistic animals, the story focuses too much on its stiff hero and a one-note villain rather than the big-picture ideas it raises in passing.

John Williams composes a sprawling, effervescent score that, while not his best, certainly captures the musical magic that makes his partnership with Spielberg so special.

Ridiculousness needs to abound somewhat in a film like this — reality takes a seat early and often here — but Resurgence pushes everything to an egregiously over-the-top and often infuriating degree.

Characters only exist as empty archetypal vessels and some of the wackier elements are laughably campy, but Refn’s sumptuous visuals and disco-synth score help give Neon Demon undeniably sinister style.

While the animation is still top-notch and a slew of new waterlogged personalities buoy the story, it doesn’t have nearly the same sense of heart, wonder and awe as Nemo.

Warcraft wins by not trying to be the second coming of a 10-hour cinematic trip through Mordor with Hobbits and jewelry. Rather, it’s a simpler, yet still wholly entertaining tale of magic and larger-than-life soldiers in a battle for survival.

Wan leans into the real history of the 1977 Enfield poltergeist legend, too, though it’s not like he needs any extra inspiration for his fright fest — when it comes to horror, the man pulls no punches or screams.

Among the many things it does well — from hilariously quotable lines to catchy, albeit obscene, songs — the mockumentary Popstar: Never Stop Never Stopping has found the best use for the poop emoji yet.

Jojo Moyes adapted her own best-selling book, which helps give Me Before You a singular inviting vibe instead of feeling like "The Fault in Our Stars 2."

Looking Glass is instead a competition to see how goofy Johnny Depp can be as the Mad Hatter and how many scenes (and hearts) Helena Bonham Carter can steal as the ragingly high-maintenance Red Queen.

Brews up an enticing murder mystery and gives Shane Black — who directed and co-wrote the script — another hit on-screen pairing.

With Neighbors 2: Sorority Rising, the raunchy college comedy is graduating to smart feminist commentary.

A hostage thriller, a campy satire of the 24/7 media culture and a takedown of Wall Street, though it never fully succeeds on any of those tracks.