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There's a lot to like about Disney's Tomorrowland. It's got George Clooney and Hugh Laurie, robots and explosions, a positive message, and it puts the fate of the future in the hands of two smart young girls.

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The silences in Mad Max: Fury Road are unsettling.

The moments are few and infrequent, but it's not until the fiery roar of the engines and the thrashing of the guitars are suddenly stripped away that you can fully feel how deeply the film has flooded your being. The theater - and your heart - pulsates with the lack as you recover and wait for more.

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It will surely stand as one of the most peculiar and possibly ironic entries in a director's filmography that in between Joss Whedon's two Avengers films there reads Much Ado About Nothing: a low-budget, black-and-white Shakespeare adaption sandwiched between two of the most gargantuan blockbusters ever made.

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In Home, the latest adventure from DreamWorks Animation, the misfit alien at the center of the movie is called Oh. That's because "Oh" is everyone's reaction when this character (voiced by Jim Parsons of The Big Bang Theory) makes one of his desperate, over-the-top attempts to fit in and make friends with humans.

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For a teenage girl, it can seem as though everyone is a predator. Some are benign, like the boys leering through a fence at the beauty spending some late summer hours in her above-ground pool. Some are much more insidious.

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Vidhu Vinod Chopra's English Film "Broken Horses" is a different, yet emotionally packed take on the American Wild West, set somewhere near the Mexican border.

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Fast-moving fight scenes, outrageous auto antics and a sprinkling of ridiculous one-liners make Furious 7 a campy, crowd-pleasing escape.

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In this age of revisionist, modernized Disney fairytales, where we've learned that some of our favorite characters really aren't what they seemed, the striking thing about the studio's sumptuous new live-action Cinderella may not be what it is, but what it isn't.

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Given that conformity is the scourge of the Divergent series and much of its young-adult ilk, it's a shame that the films, including the new Insurgent, do so little to stray from well-worn YA paths.

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If the mark of a good con artist is that he or she makes you think you know exactly what's going on - when of course you haven't a clue - that's also the mark of a good con-artist movie, isn't it? To make you feel like you totally get what's about to happen - "Oh yeah, I've seen this in tons of movies," you think - and then, boom. That's not what happens at all. See, you lost your focus for a second.

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