A Protestant filmmaker, Nick Hamm, returned to Northern Ireland to film “The Journey,” a fictionalized telling of how McGuinness and Rev. Paisley came to a political solution in 2006 to bring decades of Christian-on-Christian sectarian violence to a halt.
There’s much to like about the vibrant comic-book adaptation “Spider-Man: Homecoming” (Columbia). Besides an unslacking pace and a clever central plot twist, there’s the fact that the mayhem on display is kept virtually bloodless.
There is good news about the Director Pierre Coffin’s animated comedy “Despicable Me 3” (Universal), though it has a weak central plot this is offset by amusing side stories and by strong values as well.
Stylish and energetic, the high-octane crime drama “Baby Driver” (TriStar) blends pop music, dizzying car chases and some dark humor to impressive effect.
Grown-ups who yearn to connect with their inner 11-year-old boy are given a two-and-a-half-hour window of opportunity to do so in “Transformers: The Last Knight” (Paramount).
Radical politics and the wayward values of hip-hop culture take “All Eyez on Me” (Summit), a sometimes intense but overlong and rarely insightful biography of rapper Tupac Shakur.
“Weekend at Bernie’s” meets “Bridesmaids” in the raunchy comedy “Rough Night” (Columbia). The result is pure dreck.
To the extent that a thoughtful drama about marital infidelity can be considered lyrical, “The Lovers” (A24) achieves that.
Man’s best friend is also a lifesaver in “Megan Leavey” (Bleeker Street), the inspiring true story of a female Marine corporal and the bomb-sniffing dog she bonded with during the Iraq War.
Morality is put to the test and fails in the bleak thriller “It Comes at Night” (A24). Well executed, yet painful to watch, writer-director Trey Edward Shults’ drama plays skillfully on the psychology of fear, working more through subtlety and suggestion than depiction.