The House is a solid, if unremarkable, big studio comedy with fleeting moments of humor peppered throughout its runtime.
Despicable Me 3 offers enough in the way of zany, irreverent entertainment (with a dose of heart) to please steadfast fans of the franchise.
Baby Driver is an exhilarating and tense thrill ride that's infectious with its high-octane energy, sheer creativity, and strong performances.
Though an only decent adaptation, The Beguiled is deftly directed by Sofia Coppola, giving room for the cast to shine in their performances.
Transformers: The Last Knight has a deeper mythos and bigger spectacle than its predecessors, yet still ends up being mostly hollow and cacophonous.
47 Meters Down is a decent, yet unremarkable, survival thriller that's little more than disposable summer entertainment.
The Book of Henry awkwardly mashes together compelling individual elements, giving rise to a jarring and otherwise confounding viewing experience.
Rough Night offers an entertaining genderswap on the bromantic comedy, which especially works thanks to its Broad City brand of humor.
Cars 3 offers more heartfelt storytelling and rich animation than its predecessor, yet falls short of raising the bar for the Cars franchise.
The Mummy tries a fresh spin on the classic monster with a gender-swapped villain and Dark Universe connections but winds up a stale action reboot.
Captain Underpants makes the most of its silly and ridiculous premise by injecting high amounts of energy and laughter into the proceedings.
Wonder Woman is a beautifully directed superhero origin story that digs into Diana's transformation from naive warrior to inspiring hero.
Despite the charm of Dwayne Johnson and Zac Efron, Baywatch is an overlong buddy cop (or, lifeguard) comedy with more notable action than humor.
Pirates of the Caribbean: Dead Men Tell No Tales is an adequate series sequel, but fails to leave any lasting impression on the audience.
Alien: Covenant plays it safe by mashing together the best elements of previous Alien films, delivering a solid sci-fi horror/thriller in the process.
Everything, Everything offers some creative flourishes on a fairly typical teen romance that succeeds thanks to its young stars.
Legend of the Sword's brazen reimagining of Arthurian mythos, coupled with Ritchie's style, makes for a bombastic yet entertaining King Arthur epic.
Guardians of the Galaxy Vol. 2 doubles-down on everything that audiences loved about its predecessor, to still-entertaining but diminished returns.
The Circle is bolstered by a fascinating premise and solid performances, but doesn't bring anything new to the table in regard to its discussions.
Free Fire is a stronger concept than film, hamstrung by poor storytelling and execution, despite the best efforts of the cast.