Molly Eichel

The movie's greatest misstep - other than Dempsey's boring romantic foil - is that, at one point, Bridget flashes back to events from the first movie. It's a reminder of how much fun the first film was, and it'll make you want to run out and watch that rather than the finish the one you bought a ticket for.

It wants to be "Wedding Crashers," but it's not nearly as memorable, smart, or sweet.

The set pieces are fun, if not as spectacular as those in Jon Favreau's adaptation of Kipling's similar "The Jungle Book." And the plot moves at a nice pace.

Like its lead Royalty Hightower, whose performance is just as spectacular as her name, The Fits is impossible to look away from. It's gorgeous, poetic, and opaque, and I've never seen any other movie like it.

While the plot is dumb and the script is worse, watching aliens explode in spectacular fashion isn't the worst excuse to spend to two hours in air-conditioning.

Popstar gets to satirize not just music, but also celebrity culture in a way that a movie such as Spinal Tap never could - because, well, the internet and 24-hours news cycle didn't exist in 1984.

Keanu doesn't go far enough. Key & Peele was searing and incisive about race and American culture, and Keanu doesn't even scratch the surface.

A piece of schlock from Garry Marshall.

It's the living jungle of Kipling's stories that we could once see only in our minds.

It's not great, either, but it is better than mediocre.

The movie pivots from what I expected it to be: a family drama about an outsider, as the opening conversation suggests. Instead, it becomes an eerie mood piece about secrets buried deep in a family's fabric.

Mirren is icy and fierce. Rickman brings both levity and sorrow to his role as a soldier who has seen war from both sides: the conference room and battlefield.

It's a documentary that is ostensibly a profile of a man, but is really about the vibrant city he inhabits, beyond the Hollywood sheen and the grit of Compton.

A running joke about hipster clichés is tiresome, and the movie's plot threads are uneven. But watching Field work her magic is so delightful.

Whiskey Tango Foxtrot isn't a great movie, but it is something rare and important: a woman's story of self-discovery - having nothing to do with her finding a husband - that has gotten room on the big screen.

The Witch is a stressful movie to watch, and that's meant as the highest praise.

For every laugh that Zoolander 2 elicits, there's a pang that all this was funnier the first time around.

The execution may not be there, but at least it has good intentions. Then again, you know what they say about the road to hell.

If you're looking for a reason to watch pretty people and cry, then, by all means, head to the theater. But it pales in comparison to other Sparks works, especially when it gets into medical-ethics territory.

The irony of Anesthesia is that, while it uses interconnectivity as a storytelling mechanism, the characters do not really connect.

Characters are introduced as archetypes to serve as jokes and little more.

It's a sweet, funny comedy starring two of the best and brightest in the game.

Watching people be miserable with each other for the movie's run-time does not always make for a pleasant experience.

Goosebumps fulfills its purpose, and that's what matters.

What makes Drunk Stoned Brilliant Dead feel particularly vibrant is how the Lampoon's specific art direction is put to use.

The plot itself has little momentum, and what should feel dramatic instead feels inert.

The Keeping Room looks at the brutality of humanity.

What could have been an amusing and entertaining zombie flick is, instead, a slog.