I love Blindspotting. It’s the kind of film I want to stand up and cheer the moment the end credits come up on the screen, the type of nail-biting human drama I wish studios made more of and the kind of incisive, take-no-prisoners satire viewers of all persuasions owe it to themselves to take a chance on and see.

I adored Christopher Robin…It just made me feel good as I sat there and watched it, and even if the basic plot mechanics are familiar in their rudimentary minimalism there is still a warmhearted gracefulness to this tale that makes watching things play out to fruition easy to do.

There’s a lot to applaud about The Darkest Minds, just not enough to believe audiences will give it the type of look it is going to need to need for 20th Century Fox to continue to adapt Bracken’s books anytime in the immediate future.

It’s always a question what McKinnon is going to do next, and by the time she climbed to the top of a Cirque Du Soleil trapeze in full costumed regalia to conduct an aerial battle of wits and wiles with an angry assassin she had me giggling so boisterously I almost fell out of my theatre seat.

While my own middle school experiences aren’t ones I’d want to relive, watching Eighth Grade is a trip back to school I’d be happy to take whenever the opportunity to do so might arise.

So when I say Mission: Impossible – Fallout isn’t just the best film of the series but one of the great action epics of our time know that I mean it, McQuarrie lighting the fuse on a piece of high-octane summertime entertainment we’re going to be excitedly talking about for a quite awhile to come.

Yet it is Phoenix, almost all on his own, who makes Don’t Worry, He Won’t Get Far On Foot something that borders on essential.

There is a tonal consistency to The Equalizer II its predecessor never had. Coupled with Washington’s magnetically stalwart performance, I ended up enjoying this sequel just enough to exit the theatre smiling, and as mid-afternoon matinees are concerned there’s just enough that works here to make this predictably explosive thriller easy to recommend.

Newcomer Aislinn Clarke’s confident and sinister debut feature The Devil’s Doorway is a clever twist on the “found footage” subgenre of horror films, her movie more concerned with her three principal characters and their twisting moral ambiguities than it is in unleashing a bunch of nonsensical cheap scares.