Few modern filmmakers have been able to capture the conflicting emotions of childhood as successfully as Steven Spielberg, and few authors have crafted young protagonists as gracefully as Roald Dahl — so Spielberg adapting Dahl’s classic The BFG should add up to an automatic home run. This latest cinematic take on the tale of a young girl named Sophie (Ruby Barnhill) who embarks on an adventure with a big friendly giant (a mo-capped Mark Rylance) certainly benefits from the latest technology, presenting viewers with a series of visual splendors, yet many critics can’t help wishing for something more. Although overall quite positive, reviews point to a disarmingly sweet film that ignores the darker elements of Dahl’s source material, not to mention the sense of danger that informed Spielberg’s earlier work. All the same, younger viewers — and the young at heart of all ages — will likely be swept up by The BFG just as easily as he scoops up little Sophie.

It’s been quite awhile since a U.S. studio decided to make a big-budget film based on the vine-swinging jungle adventures of Edgar Rice Burroughs’ classic Tarzan character — and based on the reviews for the David Yates-directed The Legend of Tarzan, it could be years before it happens again. Starring Alexander Skarsgård as the erstwhile ape man and Margot Robbie as Jane, Legend does its level best to grapple with the most problematic elements of the character; unfortunately, critics say those efforts aren’t enough to enliven what is, at bottom, a fairly ordinary action-adventure outing with not enough of either — and an overload of obvious CGI. There may yet be a way to turn Tarzan into a viable 21st-century film franchise, but the reviews point back to the drawing board after The Legend of Tarzan.

When you’re living in the midst of a presidential election year, it can be difficult to imagine ways in which campaign season could possibly become even more of a circus. Well, now there’s The Purge: Election Year, which infuses the franchise’s traditional skull-cracking violence with a shotgun blast of politically timely relevance. Returning audiences to a future in which citizens have an annual 12-hour pass to legally commit all manner of mayhem — including murder — writer-director James DeMonaco’s third installment in the series envisions an election in which one candidate (Elizabeth Mitchell) vows to do away with the Purge if she’s elected. She’s got series protagonist Leo Barnes (Frank Grillo) on her side, but shadowy government forces are determined to stop her — and critics say it adds up to a wickedly dark action flick that, while perhaps not quite as lethally effective as its predecessors, is still high-caliber enough to recommend for filmgoers seeking a summer dose of genre thrills.

Thirteen gives a well-worn premise an intriguing facelift with haunting execution and compelling performances across the board.

Queen of the South enlivens an overdone premise with action and narrative vigor — and shows hints of intriguing potential.

Dead of Summer sets a spooky stage for a silly period creepfest, but its lack of actual scares adds up to an altogether underwhelming experience.

Roadies‘ condescending tone, boring and underdeveloped characters, and lack of dramatic intrigue lead to a failure to rock.