Pac-Man, Donkey Kong and many other arcade games want to kill us and the fate of the earth rest in the hands of immature video game geeks (Sandler, Josh Gad, Peter Dinklage and Kevin James) … right. This disaster directed by Chris Columbus (Mrs. Doubtfire and Harry Potter 1 & 2) is a new substantial low for him. Seeing this film in 3D will melt your eyes as a giant Pac-Man rolls around New York City eating everything in its pathway. With James (the president) killing smurfs and Sandler jokes falling flat, this film was set up for failure from the start. Sadly, not even Dinklage’s mullet can save this film. Shame. 

Pixels is rated PG-13 (Parents Strongly Cautioned). For some language and suggestive comments. 

Schumer will make you laugh until your sides hurt, proving that she is now at the top of her game within the comedy world. Trainwreck scraps the rom-com clichés and replaces them with fierce dialog and real life situations. Schumer makes her incredible transition from TV’s Inside Amy Schumer to her big screen adaption. Taking on the lead role and writing the script, Schumer starts throwing punches and won’t let up. This fierce direction is calmly crafted by the brilliant mind of director Judd Apatow. 

Trainwreck comes out with high energy and there’s no control in taming it. Too feminist for you men? Those of you then can piss off. Schumer plays Amy Townsend, a writer for a men’s magazine run by a virtuous editor (an uproariously funny Tilda Swinton). Swinton is high and mighty, not taking anyone else’s crap. She’s a real treat. Amy is sent in to interview Aaron Conners (a charming Bill Hader) for the magazine. Conners is a sports-medicine doctor who tends to celebrities like LeBron James (spoofing himself in the film). 

There, Amy and Aaron are set for love. Not so fast! Amy is a foul mouth fueled by boozes, weed and was influenced by her neglectful dad (Colin Quinn), who informed her at a young age that monogamy isn’t real. It’s going to take a lot more will power by Aaron to win Amy over. Hader excels in the film, gaining a new peak in his career. Their chemistry blends and grows throughout the film. Relationships are messy and Schumer explores these entanglements. Kudos to Schumer and Hader who hit a summer cord and in the end sent the audience into tears from the non-stop belly laughs. 

Trainwreck is rated R (Restricted). For strong sexual content, nudity, language and some drug use. 

In the latest Superhero film from the Marvel Cinematic Universe, we get yet another origins story. But this time around Marvel is introducing us to their smallest hero yet … Ant-Man. Yes that’s right, he’s a cat burglar out to redeem himself with a scientific shrinking suit that allows him to increase in strength. Paul Rudd steps into the title role, bringing charm to the hero. 

Rudd plays standard-sized Scott Lang (just released from jail for being convicted of burglary), who is approached by scientist Hank Pym (a class ‘A’ Michael Douglas) proposing a proposition on how Scott can bring out his inner-hero. Scott agrees, from there the little pest will get into all shorts of trouble and mayhem along the way. The visual splendor excels Ant-Man to a new level of entertainment, along with its nicely sliced humor. Out of the darker tone that has been  recently displayed throughout The Avengers films, Ant-Man is surprisingly light and has a since of fun in the air.

Of course, with every superhero film there’s always a bad guy. Darren Cross (Corey Stoll) is a narcissistic scientist who wants to use the suit for war. Cross eventually becomes the Yellowjacket and is out for blood of Scott, Hank and his daughter, Hope (Evangeline Lilly). Director Peyton Reed lets loose on he action scenes, while scriptwriters (Joe Cornish, Edgar Wright, Adam McKay and Paul Rudd) keep the script sharp. Actor Michael Pena also offers a nice comedic relief throughout this action-heist film. Ant-Man also provides a sweet tribute to past superhero comics. Where Rudd goes we will follow and Marvel continues to keep the ball rolling. 

Ant-Man is rated PG-13 (Parents Strongly Cautioned). For sci-fi action violence. 

There’s not much to say about this narcissistic teen horror film that reeks at the bottom of the barrel like other modern day found-footage films. The camera work is extremely jerky, rightfully so, giving its audience a headache from its visual disaster. These unpleasant teen characters add nothing new or exciting to the film, as the narrative will put viewers to sleep not scare them. I won’t even waste my time telling you the storyline, all I can say here is stay as far away as you can from this catastrophe. In the end, I could of cared less about each character as they were slowly killed, instead, I couldn't stop thinking about the empty feeling of less money in my wallet. 

The Gallows is rated R (Restricted). For some disturbing violent content and terror. 

Self/Less failed to uphold its initial premise, making it one of the most frustrating films of 2015. Ryan Reynolds tries to bring his ‘A’ game, but in all honesty, we haven’t seen that in years. And after seeing the exhilarating Ex Machina earlier this year, Self/Less gets left in the dust when comparing the two sci-fi films. Ben Kingsley is a wealthy man dying of cancer so he decides to undergo a radical medical procedure that transfers his consciousness into the body of a healthy and younger man (Reynolds). This pronounced thriller is interesting at first, but stumbles halfway through with way too many plot twist and a poorly written narrative (scriptwriters Alex and David Pastor). Reynolds along with his crew proceeds to save the doomed film, but unfortunately Self/Less ends up being another generic waste to a clever concept. 

Self/Less is rated (Parents Strongly Cautioned). For sequences of violence, some sexuality, and language. 

Pulling in the handkerchief moments, Me and Earl and the Dying Girl is an emotional adolescence journey from beginning until end. This indie-weeper delivers the powerful message about a shy teen and a terminally ill girl forced to start a friendship. Me and Earl and the Dying Girl is a real tearjerker that one cannot possibly shake off and has become the summer sleeper hit of 2015. Meet Greg (an excellent Thomas Mann) who is just trying to easily slide through the terrors of high school without any disruptions. 

That is, until his mom forges him into starting a friendship with a classmate he barley knows, named Rachel (a heartfelt Olivia Cooke). Rachel has just been diagnosed with leukemia and is mentally and emotionally trying to stay calm through this life-changing situation. This is Greg’s toughest assignment now, by trying to make Rachel’s life the most meaningful with what time she has left. Greg is an aspiring filmmaker, who along with his partner Earl (RJ Cyler), make short parody films to pass time. Featuring titles like Pooping Tom, A Sockwork Orange and Senior Citizen Kane. 

They introduce Rachel to these films and she gets it and so do we. Mann, Cooke and Cyler’s chemistry excels throughout the film has they become the stars of tomorrow, showing off Hollywood’s newest talent. Greg tells us that Rachel doesn’t die, but can we as the audience believe him in these nicely placed voice-overs? It’s your call. 

Director Alfonso Gomez-Rejon does a brilliant job in adapting the novel’s central core onto the screen as we see lives change, heartaches blossom and relationships deepen. Gomez-Rejon whips the camera around to show Greg’s point-of-view periodically throughout this teen drama. Me and Earl and the Dying Girl hits you hard in the end and captures a moment of life, tears and film. Me and Earl and the Dying Girl left me balling and I’m sure it will impact you as well. 

Me and Earl and the Dying Girl is rated PG-13 (Parents Strongly Cautioned). For sexual content, drug material, language and some thematic elements. 

Did the world need another version of Sherlock Holmes? Maybe or maybe not, but Hollywood gave it to us anyway. Apologies to Robert Downey Jr. and Benedict Cumberbatch, but Mr. McKellen swooped in and gave us one of the best performances of the man who lives on Baker Street to this date. McKellen does Sir Arthur Conan Doyle's fictional detective proud, by tenderly transforming into the private eye at age 76. 

Mr. Holmes focuses on the oldest version the world has ever seen of the detective, now 93, retired Sherlock Holmes looks back on his life and struggles with an unsolved case involving a beautiful woman from his past. While also being handicapped by Alzheimer's disease, Holmes will use every fiber in his being to remember where the case went wrong so many years ago. Holmes now lives on Sussex farm; where he tends his bees, relies on a widowed cook (Laura Linney) and her 14-year-old son, Roger (Milo Parker). Roger is fascinated by Mr. Holmes’ stories from the past and wants help him crack the case. 

This slow burning film superbly shows a more unique version of our beloved detective and is backed by an outstanding performance by the man himself, Mr. McKellen. Not only does Mr. Holmes prove to be a grand summer treat, it also proves to be one of the best pictures of the year. Condon beautifully crafts the film to lead the audience down a delightful and heartfelt treat. Yes, the world may not of needed another on screen version of Sherlock Holmes, but this one is a defiant keeper and a must see! 

Mr. Holmes is rated PG-13 (Parents Strongly Cautioned). For thematic elements, some disturbing images and incidental smoking.