Drew Taylor

It’s hard to argue with too many of the decisions considering what a fitfully entertaining and satisfying entry it really is. This is a movie stuffed (perhaps overstuffed) with moments that will make you gasp, giggle and applaud, whether this is your first “Fast and Furious” movie or you’re a longtime fan.

While lacking the surprise and simplicity of the original “Frozen,” the sequel is still largely wonderful in its own right. It fearlessly transforms the original characters and even its own storytelling format, eschewing the familiar for something grander and more complex.

Teen Titans Go! To the Movies is one of the biggest surprises at the movies this summer. In fact, it’s downright super.

It would have been a relief if, 14 years later, Incredibles 2 had simply met expectations. Instead, it exceeds them.

For a movie that preaches the importance of dinosaur freedom, it’s hard to watch something so caged by its terrible plotting and predictability.

At its best, Pacific Rim Uprising is tedious and mildly diverting, but at its worst it feels like an out-and-out betrayal.

Thankfully, Coco, Pixar’s latest original work and one of their very best, truly does transport you. The results are magical and feel somewhat rebellious given the current political climate, which makes the film feel even more special.

Overlong and joyless, it’s the cinematic equivalent of a giant, opulent express train trapped in the snow, heaving and off balance. Buy another ticket. Skip this train.

Even with these minor complaints, it’s hard to deny that It is anything but a triumph. The craftsmanship is impeccable, the performances incredibly strong..., and the fidelity to the source material, in spirit more than specificity, is admirable and appreciated. Had the story given even more time to breathe, it would have been one of the greatest Stephen King adaptations ever. As it stands, it’s simply a very good one.

If anything can happen (and, trust me, it does), then there’s never a way of predicting where the next scare will come from. And for a genre that oftentimes feels threadbare and hopelessly predictable, this cannot be commended enough.

This is a brilliantly constructed, whip-smart, and laugh-out-loud-funny romp from a filmmaker whose precision and craft is nearly unparalleled. It’s hard to think of a movie this year that has been as singularly delightful, one that, with each passing moment, reveals something charming or odd or real.

There have been countless films this summer that have engaged in endless spectacle but Dunkirk is the rare blockbuster that will leave a bruise.

The entire thing feels forced and hollow, less an authentic expression of the human experience and more a gee-whiz exercise in cleverness, slathered in a healthy coat of multiplex-friendly weirdness.

The main thing you’ll feel from Cars 3 is joy; this is Pixar at its most radiant and playful.

Ritchie’s ‘King Arthur’ is a pleasing big budget spectacle, oddly aligned to the filmmaker’s thematic interests and startlingly compatible with his signature razzle-dazzle style. In fact, the soggiest moments in the movie are the ones that adhere the closest to that ambitious multi-film strategy, lessening the fun, and emptying its impact.

What’s interesting is watching the way that Lin has to maneuver in and out of the limitations that the franchise has established, while attempting to push it into new territory.

Movies today are too long and overstuffed; Life is lean, mean, and terrifying. It doesn’t have much to say beyond “hold up, maybe we shouldn’t poke around uncharted terrain so much,” but with actors this committed, set pieces this exciting, and direction this confident, it doesn’t really matter.

It also cannot be overstated what an asset [John C.] Reilly is. The moment he shows up, the movie feels enlivened and energized; his mere presence adds a tremendous amount of oddball charm and humor.

What keeps The Royal Road from feeling like its trapped in amber is the genuine heartbreak that Olson clearly feels, the rawness of her emotions and her dedicated willingness to share.

In the end, it doesn't matter if you believe Alexandrovich's story that a $7 billion weapons system was ultimately the cause of the Chernobyl nuclear meltdown; what matters is that Alexandrovich believes it so completely. And through his eyes (which seem to bug out outside of his skull), the entire Russia/Ukraine relationship takes on a vivid, personal immediacy.

Completely forgettable, Hellions is far less cool, smart, and scary than it thinks it is.

Creep is a tiny movie whose uniqueness feels positively seismic. If there's one thing Creep has, it's an abundance of personality, and that cannot be understated.

The documentary, like its subject, is unapologetically dazzling.

Deeply human, full of dread simmering just beneath the surface and quietly unsettling.

Gabriel often feels like a feat, for both writer/director Howe and Culkin. It's a movie that might not be easy to watch, but is well worth the effort.

The marketing engine of Minions is undeniably powerful. This is something craftily designed to sell toys and theme park tickets and special cans of Tic-tacs. But it’s not a movie. It’s an eyesore.

Ted 2 gives lip service to civil liberties and spends the rest of the running time picking the easiest joke to tell, again and again and again.

It's ultimately a convoluted, muddy (both literally and figuratively) and overlong bore that takes an intriguing premise and does absolutely nothing with it.