Even with some familiar faces, The Stanford Prison Experiment feels like an honest-to-goodness documentary — a high compliment for a movie based on an infamous college project.

Tonally, Ant-Man is a little all over the place — at times, it's a quirky comedy, heist film, trippy sci-fi project and family drama, never able to really blend everything in a cohesive fashion.... That said, when it's on its game, Ant-Man does some of the best stuff ever in a Marvel movie.

There's a lot thrown in here for two hours, and Apatow could easily have lost about 30 minutes of high jinks and gotten the point across that everybody has their somebody. Yet with Schumer driving the action, Trainwreck may be his most impactful ride yet.

There can be too much of a goofily good thing.

Terminator used to be a sci-fi franchise defined by its cool time-travel concept and even better special effects. Unfortunately, it's "Hasta la vista, baby," to those good old days.

Ted 2 locks into a nice groove whenever it's just Ted and John being buds (and smoking bud), and Seyfried actually adds to the chemistry. If only the nonstop parade of craziness and lack of story coherence around them wasn't so hard to bear.

Newcomer Shameik Moore shines with geeky gusto in a breakthrough role in the coming-of-age comedy/drama, which tackles racial stereotypes and 1990s culture as a kind of spiritual descendant of "Friday" and "Do the Right Thing" while still featuring a singular voice.

The main voice actors all fit their animated personas, especially Poehler and Black. Poehler brings a unshakably quirky optimism to Joy while Black takes his acerbic stand-up routine, makes it a smidge more family-friendly, and turns up the juice for Anger.

Deftly juggling humor and heartache while always exuding a lovable quirkiness, the excellent art-house comedy/drama showcases three teenagers who pop off the screen with originality and, unlike a lot of the current coming-of-age ilk, just the right amount of unpredictability.

Jurassic World gives us enough dino-mite action to stave off excitement extinction.

Feig blends a keen sense of physical comedy and exquisite timing with all the requisite spy-flick tropes, from the trippy and stylish opening credits to surprisingly violent, bone-breaking action scenes that he refrains from playing for laughs.

The cringeworthy dialogue and unmoving earnestness are the biggest disasters in this mostly forgettable action flick.

A spectacular ride for most of it, and while you're a little let down at the end, you kind of want to jump back on and do it all over again.

While just a jot less fun than its predecessor, Pitch Perfect 2 is a worthy sequel in tone, even if the story feels padded with a few too many montages.

When the original filmmaker upgrades and expands on an idea and uses new technology while retaining the essence of the original story, it can be just the ticket for jaded moviegoers. Such is the case with Mad Max: Fury Road, an operatic extravaganza of thrilling action and nearly non-stop mayhem.

While Kristen Wiig fully commits to her bizarre, mentally ill character in Welcome to Me, the result still feels more like an extended sketch than a movie.

Downbeat but humanistic, Maggie is the rare zombie tale that's less about the appetites of the walking dead and more about their complicated emotions.

Hot Pursuit is this week's "Paul Blart." Which is to say, it's ill-conceived, not funny, overbearing and not in any way worth watching.

The D Train is long on high-concept comedy, then runs out of steam and becomes a forced and far-fetched drama.

The latest version of Hardy's 1874 classic works on all levels. Foremost, it is brilliantly directed by Thomas Vinterberg,who also made two other masterful dramas, 2012's "The Huntand" 1998's "The Celebration."

Director Joss Whedon knows how to make a wryly funny, action-packed extravaganza, as he proved with 2012's "The Avengers." So why did he overstuff the 2½-hour sequel?

The story feels like a less complicated companion to "The Curious Case of Benjamin Button." Obvious logical questions are ignored. For instance, if she remains 29, does that make her immortal?

Crowe's performance is the best thing about the ambitious historical drama, which takes some artistic liberties.

Unfortunately, Leo is the only well-developed character in a handsomely mounted but tedious drama with an impressive international cast.

True Story is an intrinsically fascinating and occasionally riveting tale marred by unnecessary embellishments.

Blowing this small-screen cyber horror tale out to the big screen makes for fresh and fearsome fun.

Alex Garland, the screenwriter of "28 Days Later" and "Sunshine," makes an auspicious directorial debut with this suspenseful mystery.

Slavishly follows the well-worn and soggy Sparks path.