Captain America: Civil War is fun; it’s too well made, acted and scripted for it to be anything less. But it’s also much ado about nothing, the fact of which is annoying me more and more as time goes by.

Submerged had a ton of potential, and director Steven C. Miller is undeniably talented, but for whatever reason things just didn’t come together as far as this project is concerned, the movie nothing short of a nicely cast disappointment that’s frustratingly difficult to watch all the way through until the end.

Sacrifice (2016), while far from a waste of time, just isn’t interesting enough to bother with, the only mystery being why anyone thought it was strong enough to garner a theatrical release in the first place.

In the end, Keanu is a movie that shows Key and Peele are more than just television personalities, and it likely won’t be long before they put forth a picture that potentially equals the pair’s comedic virtuosity.

Mother’s Day isn’t just bad, it’s an unforgivable blot on the cinematic landscape, and forgive me if I just try to go to my personal happy place and do my best to imagine that it doesn’t even exist in the first place.

If anything, Sing Street is a rollicking pop music extravaganza with so much life and heart enjoying it is a virtual impossibility, the director stealing my heart with such confidently raucous abandon I almost don’t even know where to start.

Phoenix is a revelation, an old-school post-WWII thriller that recalls the glory days of Carol Reed and Fritz Lang yet also gloriously stands on its own as a dynamic, one-of-a-kind sensation. Featuring a performance for the ages by the gifted Nina Hoss, Christian Petzold’s latest is an outright stunner, and as such Criterion’s Blu-ray release should be added to any world cinema connoisseur’s hi-def library as soon as possible.

A Hologram for the King is a quiet film, one that doesn’t shout at the audience, doesn’t jump up and down ecstatically clamoring for love and adoration. Tykwer is confident in his presentation of the source material that he is happy to let the journey of his main character speak movingly for itself, and in the process the veteran director brings forth a motion picture I’m going to happily treasure for a long time to come.

Green Room is writer/director Jeremy Saulnier’s explosive, gut-wrenching follow-up to 2014’s masterful Blue Ruin…One part horror, one part thriller, one part brutally bleak black comedy of errors, [this] is like some sort of cinematic Gordian Knot of death and destruction.