James Berardinelli

Ultimately, Disclosure Day won't go down among Spielberg's greatest or best-remembered films, although ufologists may disagree. There are just too many basic flaws. However, I appreciate its scope and ambition, and it does enough to represent solid, blockbuster-level entertainment.

Masters of the Universe inhabits a gray zone where it's not quite humorous enough to be dismissed as a parody and enjoyed on that level, but it's also not strong enough to be viewed as some kind of epic fantasy.

[Parsons] is not so much a conventional storyteller as a director who establishes a mood and sets the viewer adrift in a sea of moments. The experience can be frustrating, but it's also rewarding. And that alone allows it to stand out in the current "play it safe" era of big-screen entertainment.

Pressure succeeds as a solid example of historical dramatization; the core circumstances, events, and figures are real, even if many interpersonal details have been invented. The result is engrossing, although the film is not likely to be remembered alongside the great movies about the war in Europe.

Imperfect but sometimes dazzling, I Love Boosters offers something in depressingly short supply in theaters these days: a fresh, imaginative vision driven more by creative impulses than the quest for big box-office dollars.

It's far from unwatchable and offers moments of enjoyability (I liked the high-energy prologue), but the film as a whole seems more disposable than the usual summer spectacle.

The result is a film that runs far too long and rarely generates enough tension or genuine horror to justify its runtime—or, indeed, its very existence.

As counter-programming to the early summer season's blockbusters, this delivers better than a lot of the more expensive titles against which it is competing. It serves as a potent reminder that a well-crafted atmosphere and a singular, focused vision can be far more terrifying than a hundred million dollars' worth of digital effects.

Mortal Kombat II falls victim to the same problems that have derailed many a game-to-movie translation: overemphasizing fan service and spectacle over a solid narrative.

The Devil Wears Prada 2 is harmless enough, although it exists more as an afterthought than a legitimate continuation of a story that was fully told twenty years ago after the first 105 minutes.