Welcome to Trust Me, I Watch Everything, a weekly guide to all the new movies out each Friday. This week’s biggest must-watch is … still The Odyssey, which came out a week ago and is bound to continue dominating the box office. But a number of smaller releases are making their debut, including Her Private Hell, a new film from the director of Drive.
If you’d rather stay home, you can now rent or buy 3 buzzy blockbuster summer releases for movie night, including the latest Star Wars flick, a Steven Spielberg sci-fi blockbuster, and the return of the Scary Movie franchise.
Want to stick to a streaming service you’re likely already paying for? The Dink on AppleTV+ is a real gem, Nirvanna the Band the Show the Movie hits Hulu and the expensive Masters of the Universe adaptation that bombed in theaters makes its way to Prime Video.
🎥 What to watch in theatersThe biggest release: Her Private Hell
Why you should skip it: Nicolas Winding Refn, the filmmaker behind the Ryan Gosling cult hit Drive, returns from a 10-year hiatus from film with all of his cinematic obsessions still firmly in tow. It’s got a little bit of The Neon Demon, a lot of Only God Forgives, and a setting that can best be compared to Blade Runner, if it were covered in a spooky layer of mist. That sentence makes about as much sense here as it does in the movie.
The synopsis is as follows: When a mysterious mist engulfs a futuristic metropolis, unleashing a deadly and elusive entity, a troubled young woman (Sophie Thatcher) searches for her father. Her quest collides with an American GI (Charles Melton) on a harrowing odyssey to rescue his daughter from Hell. Oh, and the entity is a giallo-style killer called The Leather Man, who literally rips women apart.
The film is nonlinear and incredibly abstract, and the dueling plots don’t merge in a meaningful way; they just crudely coexist. Interviews with the filmmaker suggest the film is his response to becoming a dad, a girl dad specifically. Viewed through that lens, it’s halfway interesting, but still feels more like a fetishistic object. Refn movies are brutally violent, usually at the expense of women, and Her Private Hell both reckons and indulges in that. If the story weren’t so all over the place, he might’ve been onto something.
It’s an astonishing movie to look at, though, with his trademark bisexual lighting deployed throughout. A beautiful, operatic score from long-retired Italian composer Pino Donaggio — his work Telescope, from Brian De Palma’s Body Double, is among my favorite bits of movie music ever — is easily the highlight. It gives the film gravitas that it doesn’t really deserve.
Her Private Hell is certainly the uncompromised vision of an auteur, but it reminded me that that’s not always a good thing. In the same way that David Lynch movies are masterpieces rife with meaning to some and entirely incoherent to others, Her Private Hell is ambitious and has no interest in appealing to general audiences. It’s self-pastiche that will appeal only to already-existing fans of Refn and his specific eccentricities.
What other critics are saying: It’s mostly been panned, but there are fans out there! Owen Gleiberman at Variety writes, “It’s obvious that all of this coheres in Refn’s mind, because he wouldn’t have made it otherwise. But he has become seriously deluded about what an audience wants.” The Guardian’s Peter Bradshaw, however, dug it, writing that it “resists interpretation, like so many of Refn’s recent films, but executes a slow dervish swirl of hypnotic strangeness.”
How to watch: Her Private Hell is now playing in theaters nationwide.
Get tickets
But that’s not all …
Alan Ritchson in Motor City. (Matt Infante /© IFC Films /Courtesy Everett Collection)
Motor City: A compilation mixtape in search of a movie, Motor City is an almost entirely wordless action movie that assumes audiences will be happy with bare minimum plotting as long as a song they enjoy is playing. In 1970s Detroit, John Miller (Alan Ritchson) falls for a local gangster’s girl and lands in prison for a crime he didn’t commit. With his life ruined, Miller plots revenge against the man who took his girl away. There’s a scene early on that just plays the entirety of Fleetwood Mac’s “The Chain,” a 4-and-a-half-minute song, over a slow-motion action scene. It’s so incredibly labored that the audience I saw it with was laughing at the movie, not with it. Every scene is unnecessarily stretched out in similar ways, and you feel every second. It’s gimmicky bullshit, frankly, that flattens the material into the most generic version of itself possible in an attempt to be different. Get tickets.
Hadestown: The Musical. This pro-shot version of the popular musical was filmed during a February 2025 London performance that reunited the key Broadway cast members with West End performers. In the play, the tragic love of Orpheus and Eurydice is intertwined with the complex relationship of Hades and Persephone. Eurydice, living in poverty, is lured to the industrial underworld of Hadestown by Hades, while Orpheus, a struggling musician, ventures down below to bring her back. The selling point is the jaunty, fun, big-band New Orleans-y music throughout, alongside the lower-key folk tunes. The audience also plays a big part in the show, as the energy is more of a raucous party atmosphere than a stuffy Broadway venue. But all those shots of the crowd having a blast do is remind the viewer that this movie version is limiting, and it would probably be more fun to see it in person. Get tickets
💸 Movies newly available to rent or buyThe biggest release: Star Wars: The Mandalorian and Grogu
Why you should skip it: The Mandalorian and Grogu is easily the worst Star Wars movie, but even calling it a movie feels like giving it more credit than it deserves. It’s a feature-length episode of streaming-era television, and boy, does it look and feel like it. It’s uncinematic in pretty much every way, from the drab visuals to its repetitive structure that lacks the storytelling heft needed to make the jump from TV to film. Say what you will about The Rise of Skywalker or the prequel trilogy; at least they’re movies!
An extension of the Disney+ streaming series The Mandalorian, The Mandalorian and Grogu takes place between the original and sequel trilogies. Onscreen text, although not in the iconic crawl you may be expecting, indicates that the evil Empire has fallen, and Imperial warlords remain scattered throughout the galaxy. As the fledgling New Republic works to protect everything the Rebellion fought for, they have enlisted the help of legendary Mandalorian bounty hunter Din Djarin and his young apprentice Grogu.
The “Mandalorian” distinction means that the lead character is masked, and Pedro Pascal’s flat vocal performance doesn’t do much to make up for that fact. And although his co-lead is a puppet, a great throwback to the way these kinds of movies used to be made, there are even more entirely-CGI creations throughout. This may be in the grand Lucasian tradition, but still not as effective as, say, a tall guy in a hairy dog suit. This movie’s Chewbacca is some purple CGI guy!
There’s no real work done to upgrade the material for the big screen, so it just plays like binge-watching a few episodes of the show, with no real driving narrative force to keep you engaged. One of the plots — it’s not the plot because, remember, this movie is really just TV — revolves around Jabba the Hutt’s muscular outcast son, who actually utters something along the lines of, “Do you know how hard it is to be Jabba the Hutt’s son?” and talks about how he’s his own man in spite of his upbringing. The character is played by The Bear star and current hunk of the moment, Jeremy Allen White. Who is this for? Instead of leaning into the Andor direction that won praise, Lucasfilm has circled back to the safe space of “cute puppet antics” and nostalgic nudges.
Composer and three-time Oscar winner Ludwig Goransson is the only one to come out of this unscathed, as his terrific score does all the heavy lifting, giving the movie gravitas and energy at key moments when it otherwise has none.
When award-winning creatives like Steven Soderbergh and Damon Lindelof are openly discussing Star Wars projects falling apart, and the actual output at Disney is The Mandalorian and Grogu, a nothing movie with low stakes more concerned with selling plush dolls than appealing to newcomers or casual fans, something has gone wrong. What was once a can’t-miss theatrical event every time, as recently as 11 years ago — The Force Awakens is the highest-grossing movie ever in this country to this day — is now debuting with a collective shrug. This isn’t the way.
What other critics are saying: They’re split right down the middle, although even the positive ones aren’t super effusive or enthusiastic. Slate’s Sam Adams writes: “If The Mandalorian and Grogu isn’t the worst Star Wars movie — and it might be — it’s certainly the least: the least essential, the least engaging, the least necessary.” Robert Abele at the Los Angeles Times was kinder, writing: “One of the movie’s strong points, absent its story deficiencies, is that, across its many wordless scenes, it’s at heart a solidly rousing, delightfully icky creature feature, in the vein of a supercharged Ray Harryhausen-meets-Guillermo del Toro joint.”
How to watch: Star Wars: The Mandalorian and Grogu is now available to rent or buy on Apple TV, Prime Video and other VOD platforms.
Rent or buy
Another big option: Disclosure Day
Why it’s a mixed bag: Disclosure Day is being positioned not just as a major summer blockbuster, but as the return of the Steven Spielberg summer blockbuster, 51 years after he unknowingly introduced the very concept with Jaws. Audiences are unfortunately primed for disappointment, as Spielberg’s latest extraterrestrial adventure is far from his greatest.
The plot revolves around a cybersecurity expert whistleblower (Josh O’Connor) trying to reveal secrets about aliens, putting him on the run from an evil corporation, while a meteorologist (Emily Blunt) experiences strange phenomena and joins forces with him to prove there’s life beyond our knowledge.
Despite obvious comparisons made in the run-up to its release to Close Encounters of the Third Kind, E..T the Extra-Terrestrial and War of the Worlds, the Spielberg movie Disclosure Day most resembles is Minority Report in that both are nonstop “guy on the run” chase movies in which some sort of powerful authorities pursue our heroes. Yes, this plot describes several Spielberg movies, but trust me, this comparison makes the most sense. The movie also suggests that Spielberg is a fan of Nathan Fielder’s The Rehearsal, but if I said any more, we’d be in spoiler territory.
One of the biggest problems with the movie is that it begins in media res: in the middle of things. That’s not a problem in and of itself, but screenwriter David Koepp doesn’t do the legwork of developing the lead character, so star O’Connor comes off as a complete nonentity. Emily Blunt fares better, giving one of the best performances of her career — in spite of the script, not because of it, as her character is given what amounts to magical abilities and is forced to reckon with them on the fly.
There’s also not much of a plot here, despite Spielberg’s rare story credit on the screenplay. The action revolves around literally magical plot devices that can do whatever gobbledygook is necessary to advance the story at that moment, neutralizing any real conflict. There’s only one memorable action set piece, and while it’s good, it feels tacked on because the movie needed a boost in excitement.
The third-act revelations are endearing in a “Steven Spielberg really thinks humans would react this way to this specific discovery, how naive and sweet” sort of way, but, on a resolution level, they’re completely unsatisfying and hard to believe. I don’t think empathy will save us, but I do appreciate Spielberg making a $115 million studio movie that makes such a plea. It’s like how James Cameron made Avatar a treatise on saving the whales.
Disclosure Day is best viewed as a meta Spielbergian metaphor about Spielberg himself. The explanation of what connects Blunt’s and O’Connor’s characters is very, very silly, but the sequence sort of works when you think of it as Blunt’s character needing to come to terms with her childhood trauma in order to move forward. That’s what Spielberg was doing himself, essentially, in The Fabelmans (and every other movie he’s ever made, but the subtext is the text in this one). Colman Domingo’s character, directing things in the background, can easily be seen as a stand-in for Spielberg, but why limit it to only him?!
Viewed as the latest work from America’s most famous auteur and as a cap on nearly 50 years of Spielberg’s cinematic obsession with aliens, it’s at least interesting. As an examination of how humanity would actually respond when presented with irrefutable evidence of alien life, it strains credulity and logic in the name of lofty messaging about the human condition.
What other critics are saying: It’s more mixed than usual for Spielberg, but there are still plenty of raves out there. Robbie Collin at the Telegraph writes, “With its ruminations on everything from responsible government to humanity’s innate religious drive, Disclosure Day is unquestionably a big swing. But with Spielberg, big swings should be a given, and this one only glancingly connects.” Time’s Stephanie Zacharek, however, calls it one of the director’s finest, writing, “Even though Disclosure Day absolutely qualifies as a big Hollywood entertainment, conventional on its surface, it still follows few established rules.”
How to watch: Disclosure Day is now available to rent or buy on Apple TV, Prime Video and other VOD platforms.
Rent or buy
And another major release: Scary Movie
Why you should skip it: Scary Movie, aka Scary Movie 6, is the first new entry in the parody franchise in 13 years, and the first Wayans brothers entry in 25. Unfortunately, their return to the smash-hit series is a reminder that maybe some things are better left in the past and that references in and of themselves are not jokes.
Since horror has only become more dominant in pop culture since 2013, there’s a lot of new material to spoof. At first, it seems like this installment will map very cleanly onto Scream 5 and Scream 6, scene for scene, in the same way the original film took on Scream and Scream 2. Unfortunately, those very recent movies don’t have a single sequence that rivals the now-iconic openings of the first two.
A bigger problem? There’s no plot here. It’s just scenes spoofing random movies crudely strewn together. Rather than crafting a coherent narrative that cleverly mashes up popular genre films, Scary Movie is content to just make fun of one movie, and then the next scene is making fun of a different movie. The sequences are more often than not entirely disconnected from one another and play more like an extremely unfunny sketch-comedy show.
It’s a bizarre, low-rent affair that feels more like the Friedberg-Seltzer “from two of the six writers of Scary Movie” knock-offs like Date Movie and Meet the Spartans than the real thing. It’s all references existing without jokes and a lot of meta winks about the fact that the characters are in a movie that you’re watching. It also can’t help but insert random pop-culture moments that have absolutely nothing to do with horror movies, like a parody Michael trailer about the pop star’s brother Jermaine, or a dire anime sequence riffing on a hit song from KPop Demon Hunters.
Scary Movie 6 is also an earnest legacy sequel, no matter how much they want to pretend to be making fun of the nostalgia they’re banking on to make this movie a hit, which it will be. And I haven’t even mentioned how downright lazy it is, repeating the same tired jokes over and over and over again despite never being that funny the first time. The movie repeatedly takes on culture-war topics like transgenderism, pronouns and the general idea of “woke” running amok, but they didn’t write jokes for any of it and instead just mention the buzzwords in an attempt to be edgy. The actor who plays Cindy’s daughter does an amazing Anna Faris impression — but for what?!
Barring a Final Destination sight gag up top that made me laugh, and a third-act Scream-style reveal that works (but would’ve worked better had the movie not already made that joke earlier), Scary Movie is an embarrassing cash-grab nostalgia play that feels like every single element onscreen is the first draft.
What other critics are saying: Most agree that it doesn’t work. William Bibbiani at TheWrap writes, “The film’s stubborn insistence that nothing about Scary Movie needs to change and it’s the children who are wrong now makes its profane and controversial jokes feel conservative.” The AP’s Mark Kennedy nails it: “The filmmakers tread water with their references to M3GAN, Get Out, Candyman and The Substance — simply showing us a setup from those films without doing anything to really skewer them.”
How to watch: Scary Movie is now available to rent or buy on Apple TV, Prime Video and other VOD platforms.
Rent or buy
📺 Movies newly available on streaming services you may already haveThe best option: The Dink
Why you should watch it: Pickleball gets an underdog sports movie of its very own in this very funny and unexpectedly sweet straight-to-streaming comedy starring Jake Johnson and Mary Steenburgen. It’s written by comedy TV writer and noted podcaster Sean Clements and produced by Ben Stiller, who appears in a hilarious supporting role.
Desperate to save a struggling country club and earn his father’s (Ed Harris) respect, washed-up tennis pro Dusty Boyd (Jake Johnson) is compelled to break a sacred vow and do the unthinkable: play pickleball. Dusty has been relegated to teaching tennis to bored children at his father’s club, reliving his glory days by telling them about the time he almost beat Andy Roddick. His unofficial hype man and coworker, PJ, played by Aussie comedian Aaron Chen, steals every scene he’s in, earning laughs through his devotion to Dusty and also his literal-minded nature.
What’s most unexpected here is how important the relationship between Dusty and Steenburgen’s character, Candace, becomes, and how charming it all is, largely thanks to the actors’ killer performances. Even when the movie is flirting with the idea. of an earnest May-December romance, it never takes its foot off the gas regarding the comedy; there’s a sequence involving The Graduate that really made me laugh with where that conversation goes.
It plays like a long-lost ’90s Adam Sandler vehicle — actually, it feels like a pretty even split between Billy Madison and Happy Gilmore — and, thankfully, its main focus is making you laugh. Fans of the beloved television comedy New Girl know that Johnson is naturally quite charming and effortlessly funny, and those qualities come through big time here. Steenburgen also has excellent comic timing and uses it to great effect.
The Dink is a delightful comedy that sneaks up on you by being heartfelt to boot, thanks to the chemistry of its two stars. But most importantly, it’s just really funny, and the screenplay cleverly finds a new way into an old story with its loving skewering of a sport that’s actually replacing tennis across the country.
What other critics are saying: They dig it! The AV Club’s Matt Schimkowitz writes, “There’s no parade of celebrity cameos or overstaged pratfalls, just well-defined characters, leisurely pickleball action and enthusiastic performances that hit hard with light taps.” But David Ehrlich at IndieWire adds, “For all of the affection it maintains for the dorkiness of pickleball, it’s ironically hard not to wonder just how much richer this movie might have been if it were just a little more at peace with playing on its own terms.”
How to watch: The Dink is now streaming on Apple TV.
Watch on Apple TV
Another great option: Nirvanna the Band the Show the Movie
Why you should watch it: You do not need to have seen a second of the Nirvanna the Band the Show television series or the web series that preceded it to enjoy the extremely funny hijinks of Nirvanna the Band the Show the Movie, an idiosyncratic indie comedy masterpiece that’s somehow also full of “how did they do that?!” movie magic despite its minuscule budget. It’s nearly impossible to describe, but I can try.
The series is a Canadian mockumentary sitcom created by Matt Johnson, now best known as the writer/director/star of the 2023 film Blackberry, and musician/writer Jay McCarrol, who play exaggerated versions of themselves. The show follows the best friends as they pull elaborate public stunts in Toronto to get their band a gig at the Rivoli (a local bar/venue that isn’t worthy of such clamor), despite never actually writing any music. There’s also an element of Jackass-style pranking directed at unsuspecting civilians, as the antics often unfold in public on Toronto’s streets. Watching people react to it is another layer of the gag.
Each episode sees their harebrained scheme to book a show go incredibly and hilariously wrong. The episodes are also modeled after different extremely popular American sitcoms or movies and therefore are full of references that range from the overt to the subtle.
The movie is the exact same thing but at feature length, and the inclusion of time travel means that it is full of allusions to Back to the Future. That’s both funny and impressive in terms of rights-clearing and practical filmmaking level, as the movie folds in on itself and the characters from the future interact with their 2008 counterparts. There’s even a crazy stunt that makes you wonder how the hell they managed to pull it off. The blending of clear fiction with actual man-on-the-street footage is part of what makes it so unique and unlike anything you’ve ever seen.
I hadn’t seen the show at all until after watching the movie, and now I’m an obsessive fan. Consider this a rare cult item that feels instantly accessible to all who watch it — though people who will appreciate the characters having their walls plastered with Criterion Collection film posters are bound to get the most out of it.
What other critics are saying: It’s a hit! The Los Angeles Times’ Robert Abele writes, “Johnson is nothing if not a punchy ringmaster of deadpan humor and his grab-bag mindset generates enough goodwill to appreciate the DIY brashness of it all.” Nick Schager at the Daily Beast says, “No matter the out-of-this-world nature of their adventure, they remain an amusing and endearingly down-to-earth doofus duo.”
How to watch: Nirvanna the Band the Show the Movie is now streaming on Hulu, alongside the full series.
Watch on Hulu/Disney+
Another option: Masters of the Universe
Why you should skip it: Never has a movie wanted to have its cake and eat it too as much as Masters of the Universe. It simultaneously hopes to be a celebration of its source material while constantly reminding the audience that the people who made the movie know that all of this is very, very silly.
It also deploys the sneering, ironic, self-aware, above-it-all humor that plagues the Marvel Cinematic Universe to undercut itself any time it’s coasting too close to earnestness. And it does it for nearly two and a half hours.
After being separated for 15 years, the Sword of Power leads Prince Adam (Nicholas Galitzine) back to Eternia, where he discovers his home shattered under the fiendish rule of Skeletor (Jared Leto). To save his family and his world, Adam must join forces with his closest allies, Teela (Camilia Mendes) and Duncan/Man-at-Arms (Idris Elba), and embrace his true destiny as He-Man — the most powerful man in the universe.
It often feels like the four credited screenwriters of Masters of the Universe are writing very different versions of the same pitch, and all of it ended up onscreen. It has the high-fantasy action spectacle you’d expect, but also modern messaging about what real masculinity looks like, and fourth-wall breaks that let you know not to take it too seriously. It also sports plenty of what should be exciting spectacle and action, but I couldn’t get over the overreliance on CGI, down to the movie’s antagonist being an entirely digital creation, no matter how much time Jared Leto spent wearing tennis balls or whatever. Skeletor has such a simple look to re-create — skull face under a hood, muscular blue body — that a movie that doesn’t use a practical mask and/or suit is making an egregious mistake. Many have praised Leto’s performance here; I was too distracted by the effects to care much about his vocal work.
The thing I kept thinking while watching this is “Who is this for?” It wants to appeal to Gen X-ers who grew up with and loved the cartoon, today’s kids who have no idea what any of this is and maybe a third demographic that exclusively finds double entendres about sex funny. If one more ostensibly family-friendly blockbuster makes a prominent running joke about fisting, we officially have a trend.
Masters of the Universe wants to be everything for everybody and, in the process, made itself wholly appealing to nobody, which may explain why it bombed so badly at the box-office.
What other critics are saying: They’re split! David Fear at Rolling Stone calls it “fan-service nostalgiabait that wants you to not take it seriously while also very much taking it seriously. The sarcasm-and-saga methodology is being applied to something that’s too thin to support it.” The Los Angeles Times’ Amy Nicholson was a fan, writing, “As Skeletor, Jared Leto’s grumbling Brit-inflected baritone is an unrecognizable concoction of trilled r’s and plummy vowels — and the best performance he’s done in years.”
How to watch: Masters of the Universe is now streaming on Prime Video.
Watch on Prime Video
But that’s not all …
Kam Patterson, Marcello Hernandez, Kevin Hart and Ben Marshall in 72 Hours. (Alan Markfield /© Netflix /Courtesy Everett Collection)
72 Hours: Hollywood really doesn’t make pure comedies anymore. If a movie is a comedy, chances are there’s also an action element, or some other sort of intense plotting that renders it another genre entirely. Enter 72 Hours, which on its face seems like a throwback to comedies that are actually just comedies, as it stars young Saturday Night Live cast members alongside comedy superstar Kevin Hart. In actuality, however, it’s another unnecessary hybrid that tosses these characters into a criminal plot. To save his career, a 40-year-old ad exec (Hart) joins a crew of 20-somethings (SNL stars Marcello Hernandez, Ben Marshall, Kam Patterson) for a wild Miami bachelor party after they mistakenly add him to a group chat. The premise is ripe enough for hilarious shenanigans, and there are some funny moments throughout, so it’s a real disappointment when the overly complex plotting rears its head. Ultimately, this falls victim to the modern sensibility of “well, it has to be a crime movie too.” I assure you, comedy is enough! Now streaming on Netflix
Pressure: Set during the tense final hours before D-Day, and with the fate of the free world hanging in the balance, the film follows General Dwight D. Eisenhower (Brendan Fraser) and Captain James Stagg (Andrew Scott) as they face an impossible choice: launch the largest and most dangerous seaborne invasion in history or risk losing the war altogether. It combines two undeniably “dad” interests — World War II and the weather — and attempts to deliver a rousing spectacle. Despite a terrific lead performance from Scott — and a hammy big one from Fraser — the movie is simply boring. It’s a lot of people talking about how sure or unsure they are about the weather, and the tension isn’t quite there, given that we all know the actual day D-Day happened. It’s one of the most famous dates on the calendar! It may satisfy those who think a movie about a WWII-era weather forecast sounds like riveting entertainment, but the rest of us might find it more suitable for background fodder during a nap. Now streaming on Peacock
Mortal Kombat II: Despite playing like an apology and a course correction for that first movie, this sequel somehow manages to be even worse. Maybe that’s because the same creative team that made the last one is back, including amateur director Simon McQuoid. The fan-favorite champions — now joined by Johnny Cage (Karl Urban), a Jean-Claude Van Damme-esque washed-up ’90s action movie star — are pitted against one another in the ultimate, no-holds-barred, gory battle to defeat the dark rule of Shao Kahn that threatens the very existence of the Earthrealm and its defenders. The movie is merely a vehicle to display the series’s trademarked “fatalities,” which sounds fun on paper but is completely undone by ruinous filmmaking. The sequel doubles down on the self-serious tone that marred the 2021 film, then clunkily shifts to extremely silly moments. It’s actually insulting to the action movie genre how badly Mortal Kombat II botches what should be an easy layup for showcasing impressive fight choreography and jaw-dropping visual flourishes. Read my full review here. Now streaming on HBO Max
That’s all for this week! We’ll see you next Friday, just in time for the release of Spider-Man: Brand New Day.
Looking for more recs? Find your next watch on the Yahoo 100, our daily list of the most popular movies of the year. And for family-friendly picks, check out our kid-approved summer movie guide.