Among the new movies that were released Friday, Aug. 8 are a feel-good food dramedy from the director of “Chocolat,” a found-footage flick that takes moviegoers into the storm and the latest installment in the “Step Up” franchise.

‘About Alex’

Aubrey Plaza, Jane Levy, Jason Ritter, Maggie Grace, Max Greenfield, Max Minghella and Nate Parker play old college friends who reunite over a long weekend after one of them attempts suicide. Old crushes and resentments shine light on their life decisions and ultimately push friendships and relationships to the brink. (R – 96 minutes)

There are only so many things that one can do with a reunion tale therefore you will undoubtedly recognize a lot of the themes contained within writer/director Jesse Zwick’s new ensemble dramedy “About Alex.” However, the question then becomes about whether or not it is done well. And anybody who has an eclectic group of friends will tell you that Zwick’s flick hits all of the right notes, with amusing wit, profound emotional resonance and a truly incredible cast that – if you did not know any better – could be playing the various people in your own knotty social circle. (Thumbs Up!)

‘Calvary’

Brendan Gleeson plays a good-natured priest who, after he is threatened during a confession, must battle the dark forces closing in around him. (R – 100 minutes)

Brendan Gleeson gives an absolutely superb performance in “Calvary.” However, the story – which consists of a series of very verbose scenes during which Gleeson’s character interacts with the many mean-spirited members of his church before eventually arriving at an inevitable conclusion – leaves a lot to be desired. There appears to be some sort of significance to it all – a message about faith if you will – but the likelihood of said significance going over your head is quite high while the movie disseminates nothing more than dismay when all is said and done. (Thumbs Down!)

‘Child of God’

Scott Haze plays a dispossessed and violent man whose life is a disastrous attempt to exist outside the social order. Successively deprived of parents and homes and with few other ties, he descends to the level of a cave dweller as he falls deeper into crime and degradation. (R – 104 minutes)

Without having read Cormac McCarthy’s source material on which writer/director James Franco’s new thriller “Child of God” is based, one cannot be certain as to whether the movie’s lack of a consistent narrative is an inherent problem or a newly invented one. Either way, its erraticism encourages temporary ADHD and its uneventful ending reduces resonance. Having said that, star Scott Haze’s performance is so insanely tormented that it in and of itself carries the flick and its themes of loneliness and isolation. Often the only actor on the screen, Haze forcefully creates a character that has our sympathy despite doing absolutely nothing to deserve it. (Thumbs Up!)

‘The Hundred-Foot Journey’

Helen Mirren plays the proprietress of a celebrated French restaurant who clashes with the members of an Indian family after they open their own eatery literally 100 feet across the street. However, undeniable chemistry eventually causes her to take one of the members – gifted young chef (Manish Dayal) – under her wing. (PG – 122 minutes)

“The Hundred-Foot Journey” is director Lasse Hallström’s closest endeavor to his grandest achievement “Chocolat” – which debuted 14 years and 10 movies ago. After all, both films feature tales of outsiders attempting to open food-related establishments in towns that are less than welcoming – and that’s an understatement. But the similarities go a bit deeper as well with the new dramedy essentially epitomizing the term “feel-good flick.” It is difficult to determine what is more delectable – the exceptionally charming story that warms your heart or the luscious looking cuisine that makes your mouth water. Either way, pair this one with “Chocolat” for a delightful at-home dessert. (Thumbs Up!)

‘Into the Storm’

Storm trackers, thrill-seekers, and everyday townspeople document an unprecedented onslaught of tornadoes touching down in the town of Silverton. (PG-13 – 89 minutes)

“Into the Storm” does precisely what the title states. It takes moviegoers into the, well, storm. Granted, it is not a real storm; but it very well may be as the new found-footage flick serves as one hell of a special effects demo reel. In other words, the sights and sounds are sincerely spine-tingling. However, the cardboard-thin characters and dippy dialogue make the inevitable downtime between tornado touchdowns feel a bit barren. Still, it is impossible to avoid getting sucked into and swept away by its exciting entertainment value. This is not a movie; it is a riveting roller-coaster ride. (Thumbs Up!)

‘Step Up: All In’

Briana Evigan and Ryan Guzman play a pair of dancers who come together in glittering Las Vegas to battle for a victory that could define their dreams and their careers. (PG-13 – 112 minutes)

With “Step Up: All In,” the popular dance flick franchise appears to have finally hit its stride. After three sequels that – while mesmerizing – were merely variations on the theme of two dancers from different worlds coming together as set forth 8 years ago in the movie that introduced us to the man who would become Magic Mike, the latest installment brings back some of the series’ most memorable characters to tell a story about the struggles one goes through while trying to convert their passion into a career. It is a particularly poignant and completely charismatic tale that, of course, also treats us to some sensationally exhilarating dance sequences. (Thumbs Up!)

Among the new movies that were released Friday, Aug. 1 are a raunchy comedy starring Selena Gomez, Marvel’s latest superhero cinextravaganza and a drama in which David Duchovny plays a father grieving the loss of his daughter.

‘Behaving Badly’

Nat Wolff plays a socially awkward high schooler who is willing to do whatever it takes to win the heart of the girl of his dreams – the most beautiful and popular girl at school (Selena Gomez). (R – 98 minutes)

Save for Selena Gomez, whose indifferent performance resembles someone reciting lines for the rehearsal of a high school play, “Behaving Badly” is actually not all that bad – at least when it comes to entertainment value. Granted, writer/director Tim Garrick packs more depraved debauchery into the new comedy than he probably should have – especially during the climax (ahem) when it starts to feel at least a little excessive. But with so many recognizable stars – from Mary-Louise Parker and Elisabeth Shue to Dylan McDermott and even Gary Busey – acting out such sinful situations, you cannot help but have fun. (Thumbs Up!)

‘Guardians of the Galaxy’

Chris Pratt plays a brash adventurer who finds himself the object of an unrelenting bounty hunt after stealing a mysterious orb from a powerful villain with ambitions that threaten the entire universe, forcing him into an uneasy truce with a quartet of disparate misfits. (PG-13 – 121 minutes)

Chris Pratt’s Star Lord, Zoe Saldana’a Gamora, Dave Bautista’s Drax, Bradley Cooper’s Rocket and Vin Diesel’s Groot may save the universe but humor saves “Guardians of the Galaxy.” Er, it doesn’t exactly save it so much as it elevates it to a point at which even non-sci-fi fans will have an absolute blast watching Marvel’s latest superhero cinextravaganza set in the farthest reaches of outer space. Rocket – a computer-generated raccoon that constantly cracking clever quips – is easily the highlight here but the entire property’s playful posture is what makes this such out-of-this-world fun. (Thumbs Up!)

‘Happy Christmas’

Anna Kendrick plays a woman who, after a breakup, moves in with her sister (Melanie Lynskey). Despite a rocky start, the woman’s influence helps her sister realize that an evolution in her life, career and relationship is necessary for her happiness. (R – 78 minutes)

On the surface of things, writer/director Joe Swanberg made a mistake in calling his new dramedy “Happy Christmas.” Moviegoers who are not fans of Christmas movies – especially ones released in August – will likely steer clear of it while those on the opposite end of said spectrum – such as myself – will be disappointed to find out the holidays hardly play any role in the plot. Things don’t get much brighter once you dig deeper, either, as Swanberg’s mumblecore approach feels less like watching a movie than it does spending time with unlikeable people who accomplish nothing other than rambling on and on about trivial topics. (Thumbs Down!)

‘Louder Than Words’

David Duchovny and Hope Davis play a couple that, after the unexpected death of their daughter, works to build a state-of-the-art children’s hospital where families are welcomed into the healing process. (PG-13 – 93 minutes)

“Louder Than Words” is a very divided motion picture. The first half, which essentially chronicles how a family deals with the unexpected death of their youngest and most peacemaking member, is tremendously touching as it takes moviegoers on a roller-coaster of emotions. However, the second half morphs into a much more conventional – not to mention stiff – story about said family’s efforts to honor their loved one’s memory. It is – like the family’s efforts – good-intentioned but its execution is way more wooden and therefore less affecting than the preceding scenes. Strong emotional resonance remains nonetheless. (Thumbs Up!)

‘Mood Indigo’

Romain Duris plays a wealthy, inventive bachelor who endeavors to find a cure for his lover (Audrey Tautou) after she is diagnosed with an unusual illness caused by a flower growing in her lungs. (NR – 94 minutes)

“Mood Indigo’s” visual whimsy is remarkably cute albeit tremendously trippy. You may find it hard to shake the feeling that you have inadvertently ingested some sort of drug upon entry of the movie theater yet you will like the experience nonetheless. However, upon the progression of the plot – or rather the lack thereof – it feels much more like a gimmick employed by writer/director Michel Gondry to distract us from the fact that the film is sort of slim on story. Having said that, its radiant romanticism remains more than enough to win over the hearts of most moviegoers. (Thumbs Up!)

Actor Thaao Penghlis recently spoke with “Breakthrough Entertainment” about his new book “Places: The Journey of My Days, My Lives.”

In “Places: The Journey of My Days, My Lives,” Penghlis, who pursued a career as an actor to fund his unyielding desire for spiritual and exotic travel, weaves his deep Greek and Australian heritage with Hollywood escapades and captivating journeys to places few visit.

Listen to “Breakthrough Entertainment’s” full interview with Penghlis by clicking HERE. The following is an excerpt from the interview in which the actor discusses what is probably his most popular role as Tony DiMera on NBC’s “Days of Our Lives.”

“I’m not one to jump from one show to another. I liked playing Tony all those years – and Andre. I thought it was a great challenge playing two characters but now I am doing ‘General Hospital’ and that is what I’m focused on. But I have to give my thanks to all of those years working with NBC. It was a great experience. And it was also what allowed me to write [‘Places: The Journey of My Days, My Lives‘] because I was able to pay for all of these journeys.

“When I presented it to the publisher, she loved it very much but she said, ‘You don’t have a chapter on ‘Days of Our Lives.” I didn’t want to write a chapter because I didn’t think that was a journey. But it was a journey. It was a journey within a studio creating a life. And it was painful. When you die six times on a show it’s not a happy moment. And each time was more violent than the last. I kept asking my producer, ‘Why can’t I just disappear up in the stairwell or something and not come back for a while?’ And he said, ‘No, you’ll be back.’ And I said, ‘No, I won’t.’ And that was it. And I never went back.

“I’m always playing diabolical characters, which I like because there is much more of a playground than playing the hero because unless you have a great villain you don’t have a very good hero. I think it’s my tone. I can be very sharp. I know how to communicate dialogue pretty well these days. And I’m a pretty straight-shooter. You get away with murder. In real life, you don’t. You are arrested and put in prison. Whereas when you are playing it, you take your clothes off afterward, you go home and you are the person you are.” -Thaao Penghlis

Among the new movies that were released Friday, July 18 are a drama 12 years in the making, an ensemble suicide dramedy and comedy in which Jason Segel and Cameron Diaz make a sex tape.

‘Aftermath’

Following a nuclear apocalypse, nine strangers find themselves clinging to life in a farmhouse cellar and face the nightmare of dwindling supplies, poisonous air and – the greatest threat of all – the hordes of zombie-like refugees who want in. (NR – 92 minutes)

There are only so many ways that post-apocalyptic tales can be told. The survivors are either stuck outside seeking refuge (as remarkably represented in the enormously entertaining “Carriers”) or already holed up in some sort of small space with strangers (as also remarkably represented in the deeply disturbing “The Divide”). “Aftermath” opts for the latter scenario and, absent of anything new to say about it (while also coming across as a low-rent imitation of the aforementioned “The Divide”), viewers are much more likely to choose a slow death by stepping outside into the nuclear wasteland than the even slower death by boredom that is an almost certain side effect of this flick. (Thumbs Down!)

‘Boyhood’

Ellar Coltrane plays a boy/young man who, with his sister (Lorelei Linklater), is taken on an emotional journey through the years – from childhood to adulthood. Patricia Arquette and Ethan Hawke also star. (R – 163 minutes)

Filmed over short periods from 2002 to 2013, “Boyhood” is one of the most unique cinematic experiences to which you will ever bear witness. It is also one of the most moving as you essentially spend 12 years with its characters. Their joys become your joys; their tragedies become your tragedies; and their lives become representative of your own. This transcendent feeling is aggrandized by the amazing authenticity for which writer/director Richard Linklater’s motion pictures (ie. “Before Midnight”) have become known. The truthful beauty that emanates from this movie is guaranteed to leave you absolutely awestruck. (Breakthrough!)

‘Dawn of the Planet of the Apes’

A growing nation of genetically evolved apes is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace – but it proves short-lived as both sides are brought to the brink of a war that will determine who will emerge as Earth’s dominant species. (PG-13 – 130 minutes)

“Dawn of the Planet of the Apes” is a drastically different movie than its 2011 predecessor “Rise of the Planet of the Apes.” Whereas the first film was a feeling fable about man’s relationship with beast, this one is a tension-fueled tale about beast’s perception of said relationship that eventually escalates to an all-out action extravaganza. One thing that they share is a brilliant use of behavior over dialogue to tell their stories and evoke not just excitement but empathy. They are also both among the best – most thought- and emotion-provoking – motion pictures released during their respective summers. (Breakthrough!)

‘Hellion’

Josh Wiggins plays a motocross and heavy metal obsessed teenager whose increasing delinquent behavior forces CPS to place his little brother with his aunt (Juliette Lewis). He and his emotionally absent father (Aaron Paul) must finally take responsibility for their actions – and for each other. (NR – 98 minutes)

After essentially going from zero to sixty in no-time-flat in “Need for Speed,” star Aaron Paul can’t even get the motor started in “Hellion.” However, it is not the actors fault that new new drama moves along at a snail’s pace as that is how writer/director Kat Candler designed it. And while some may find an appeal in the motion picture’s artistic approach, most moviegoers will simply become impatient as they wait for this melodrama to build up momentum. Unfortunately, it never does and we are left with an independent filmmaker’s measured vision of adolescent delinquency. (Thumbs Down!)

‘A Long Way Down’

Pierce Brosnan, Toni Collette, Imogen Poots and Aaron Paul play four people who meet on New Year’s Eve and form a surrogate family to help one another weather the difficulties of their lives. (R – 96 minutes)

You know that characters are really badly drawn when even charismatic actors like Pierce Brosnan, Toni Collette, Imogen Poots and Aaron Paul cannot make them even the least bit likeable. Having said that, even the most unlikeable characters deserve a lot more dignity than they are given in “A Long Way Down” – a dramedy that nonchalantly uses suicide as a lighthearted plot progression device. Granted, that is pretty appalling but it could have worked if the movie had actually advanced to an emotionally moving conclusion. Unfortunately, the entire ordeal is incredibly innocuous. (Thumbs Down!)

‘Rage’

Nicolas Cage plays a reformed criminal who, when his daughter is kidnapped, rounds up his old crew and seeks his own brand of justice. (NR – 92 minutes)

With “Rage,” you get exactly what you expect from a Nicolas Cage movie – a lot of yelling and screaming and… well… rage. The emotion – at an intensity level turned up as far as it can go – seems to be the only one that the actor is capable of portraying nowadays – unless you consider crazy an emotion. But blaming Cage completely would be unfair, especially when director Paco Cabezas appears to be so obsessed with gratuitous violence and stereotypical characters that he forgets the fact that action is not entertaining unless it is accompanied by at least some sort of significance. (Thumbs Down!)

‘Sex Tape’

Jason Segel and Cameron Diaz play a married couple who tape themselves trying out every position in “The Joy of Sex” in one 3-hour marathon session only to later discover that their most private video has gone public. (R – 95 minutes)

For a movie with such a scandalous title that is certain to have theaters on alert for auditorium-jumping minors, “Sex Tape” is incredibly innocuous. Granted, the new comedy has a handful of laughs that are relatively raunchy but it runs out of humor about midway through and devolves into your standard sitcom that is – frankly – quite forgettable. Moreover, its tone is tremendously uneven, unsure if it wants to be cartoonishly outlandish or sweetly heartfelt. In other words, it’s OK but there are plenty of better things on which you can blow your wad – of cash. (Get your mind out of the gutter.) (Thumbs Down!)

Actors Eric Bana and Joel McHale recently spoke with “Breakthrough Entertainment” about their roles in the new supernatural crime thriller “Deliver Us from Evil.”

In “Deliver Us from Evil,” which opens Wednesday, July 2, Bana and McHale play New York police officers who begin investigating a series of disturbing and inexplicable crimes and join forces with an unconventional priest (Edgar Ramirez) to combat the frightening and demonic possessions that are terrorizing their city.

Listen to “Breakthrough Entertainment’s” full interview with Bana and McHale by clicking HERE. The following is an excerpt from the interview in which the actors discuss what drew them to their respective roles.

“I am good friends with Scott Derrickson, the guy who wrote and directed it who also wrote ‘Sinister’ and ‘The Exorcism of Emily Rose’ and soon to be directing ‘Doctor Strange.’ And I thank God that I am friends with him. As he was writing this, he said, ‘I am writing this character as if it were you.’ So I went, ‘Cool. Hope I get to do it.’

“And after a lot of actors passed – and actresses as well… and trained animals – I got the nod. So that is how I ended up getting it. As far as doing more stuff like this, I had a ball. I really had a great time and will look back on it as one of the more rewarding and fun and interesting [projects that I have ever done].” – Joel McHale

“I loved the character of Ralph Sarchie and I would have played him if it was just a straight-out thriller with no horror elements. I loved his storyline. I loved his journey as a person in the script – the fact that a person does not get to progress in life until they tackle their personal demons and the fact that he was basically kind of blocked until he dealt with things in his past.

“I was just really fascinated from human level about all of that stuff. He just happened to be in a horror film with a great director. And I am really glad that I did it. It was certainly a hell of a lot of fun to play a Bronx detective. I grew up watching a lot of cop stuff and at one stage briefly entertained the idea of becoming a cop. So it was great to play a man in a uniform who wasn’t in a uniform.” – Eric Bana

Among the new movies that were released Wednesday, July 2 are a supernatural crime thriller starring Eric Bana, a family-friendly science-fiction found-footage flick and the latest comedy in which Melissa McCarthy plays a boor.

‘Deliver Us from Evil’

Eric Bana plays a New York police officer who begins investigating a series of disturbing and inexplicable crimes and joins forces with an unconventional priest (Edgar Ramirez) to combat the frightening and demonic possessions that are terrorizing their city. (R – 118 minutes)

It is a shame that “Deliver Us from Evil’s” production was plagued by incessant hurricanes and that writer/director Scott Derrickson could only get permission to film at night. I am, of course, exercising sarcasm to make a point that dry scenes set during daytime are scarce in the new supernatural crime thriller. So is any originality (it is your standard exorcism flick), cohesiveness (its story constantly heads off in different directions) or justifiable lure (it simply is not very entertaining). Worst of all, it wastes the talent of Joel McHale who, in a supporting role, is the movie’s only worthwhile element. (Thumbs Down!)

‘Earth to Echo’

Brian “Astro” Bradley, Teo Halm and Reese Hartwig play a kids who, after receiving a bizarre series of encrypted messages, embark on an adventure with an extraterrestrial who needs their help. (PG – 91 minutes)

Despite a second act that sags into boredom with repetitive scenes of loud chaos and an otherwise unoriginal plot that blends “E.T.” with “Chronicle,” “Earth to Echo” is an entertaining and even endearing extraterrestrial adventure. The new family-friendly science-fiction found-footage flick features an energetic pace that keeps audiences of all ages engaged and amused but it is clearly targeted to younger viewers who will be unbothered by its flaws – which include but are not limited to its predictable play-out and its slightly amateurish approach – and are less likely to be familiar with the 80’s films of which this is a direct echo. (Thumbs Up!)

‘Life Itself’

Filmmaker Steve James recounts the inspiring and entertaining life of world-renowned film critic and social commentator Roger Ebert. (R – 112 minutes)

During its best moments, “Life Itself” is more than just an overview of Roger Ebert’s life; it becomes an engaging examination of film criticism that addresses its roots, its advantages, its deficiencies and its future. The new documentary also becomes a celebration of life, an observation about death and any number of other things that speak to each individual viewer. As someone who has looked up to Ebert ever since I could first form conscious memories, I would have liked to have felt how cinema shaped him (as it has me) but this is still a superbly enlightening piece of entertainment. (Thumbs Up!)

‘Night Moves’

Jesse Eisenberg, Dakota Fanning and Peter Sarsgaard play radical environmentalists who look to execute the protest of their lives – the explosion of a hydroelectric dam. (R – 112 minutes)

The only movement that goes on in “Night Moves” takes place at a sloth’s pace. Some may call that slow burning tension but most call it boring. The new ecological thriller features long strings of scenes without any dialogue whatsoever while the dialogue that does exist is presented with absolute apathy. Peter Sarsgaard is believable as a radical environmentalist but Jesse Eisenberg and Dakota Fanning fail to sell the same with their performances. And any intellectual message that writer/director Kelly Reichardt is attempting to relay through this story is undermined by its completely perplexing conclusion. (Thumbs Down!)

‘Snowpiercer’

Chris Evans plays a passenger on a train that, in a future where a failed global-warming experiment kills off all life, travels around the globe via a perpetual-motion engine. When cryptic messages incite the passengers to revolt, the train thrusts full-throttle towards disaster. (R – 126 minutes)

“Snowpiercer” is one of those movies that is so bad that it is good – except for the fact that it is completely unaware of its own kitschiness causing the story’s strange self-seriousness to eventually catch up with it. The new science-fiction flick which takes place entirely on a train tries to say something significant about the class system. And, at times, its mind-bending metaphors work. But what truly fuels its perpetual-motion engine is its incomparable weirdness, which appears to be altogether unintentional. If you are willing to overlook its absurdly artistic conclusion, the first three-quarters of the ride will be fast-paced fun. (Thumbs Up!)

‘Tammy’

Melissa McCarthy plays a woman who, after losing her job and learning that her husband has been unfaithful, hits the road with her profane, hard-drinking grandmother (Susan Sarandon). (R – 96 minutes)

“Tammy” is missing the two absolutely essential elements of comedy – surprise and spontaneity. Without these, you may as well just be watching a boorish woman run around with a paper bag on her head. And that is exactly what you get with Melissa McCarthy’s new flick in which she plays pretty much the same crude character she has played thrice before in “Bridesmaids,” “Identity Thief” and “The Heat.” Unfortunately, none of it is even the least bit funny because the jokes are predictable and forced. The worst part, though, is watching McCarthy’s co-star Susan Sarandon shed an entire career’s worth of dignity and credibility in one fell swoop. (Thumbs Down!)

‘They Came Together’

Paul Rudd plays the owner of a corporate candy company who meets a quirky indie shop owner (Amy Poehler). They fall in love but break up about two-thirds of the way through and she starts dating her accountant. But then he makes a big speech and they get back together. (R – 83 minutes)

Had “They Came Together” been even half as clever as its double-entendre of a title, it would have likely left viewers in stitches. Unfortunately, said title is one of only a handful of authentically creative jokes in the new parody of the romantic comedy genre whereas the rest suggest it could have instead been called “Generic Rom-Com.” That is to say that writer/director David Wain goes for the low-hanging fruit, relying on the single running gag of exposing the genre’s most basic outline rather than legitimately lampooning it. Its cast is remarkable and its subversive conclusion will get an audible guffaw but its overall lack of imagination is disappointing. (Thumbs Down!)

Co-writer Faith Conroy and co-writer/director Jim Wilson recently spoke with “Breakthrough Entertainment” about their new horseracing drama “50 to 1.”

In “50 to 1,” which opened Friday, June 20, a misfit group of New Mexico cowboys find themselves on the journey of a lifetime when their crooked-footed racehorse qualifies for the Kentucky Derby. They face a series of mishaps on their way to Churchill Downs, becoming the ultimate underdogs in a final showdown with the world’s racing elite.

Listen to “Breakthrough Entertainment’s” full interview with Conroy and Wilson by clicking HERE. The following is an excerpt from the interview in which the filmmakers discuss their motivation for the movie.

“‘50 to 1’ is a true-life story that took place in 2009 – just 5 years ago. This unheralded racehorse named Mine That Bird won the Kentucky Derby. It was the most amazing race that I have ever seen. I have owned horses for 25 years in Los Angeles, raced around the world, made documentaries on racing and all kinds of movies but I have never seen a race quite like this.

“This is really about underdogs making it and trailering their horse cross-country to Kentucky. It is a bit of a class system film as well. They took on the bluebloods of Kentucky and kicked their [butt]. It is a really inspiring picture. There is no insight that you have to have into horseracing to understand this movie. These are guys who are down on their luck and have a dream. That is what it is all about.” – Jim Wilson

“You will be overcome with emotion. This incredible race that you see just takes you away. It is uplifting and you don’t get that very often anymore. We wanted something that was different; something that people could actually sit down and be entertained – not offended or upset or have something twisted happening in front of them. This is just a great, feel-good family film.

“It is about, as they say in the movie, getting out there and taking chances. It is about following something even when everybody tells you that you are a fool. You go out there and do it anyway because this is what you want and this what you believe in and you are not going to give up your dream. That is what this movie is about. It really is. It has got a horseracing backdrop but it is about that message.” – Faith Conroy

Writer/director Michael Tully recently spoke with “Breakthrough Entertainment” about his new coming-of-age comedy “Ping Pong Summer.”

In “Ping Pong Summer,” which opened Friday, June 20, Marcello Conte plays a shy teenager who, during his family’s 1985 summer vacation makes a new best friend, experiences his first real crush, becomes the target of rich local bullies and finds an unexpected mentor in his outcast next-door neighbor.

Listen to “Breakthrough Entertainment’s” full interview with Tully by clicking HERE. The following is an excerpt from the interview in which the writer/director discusses his motivation for the movie.

“I was born with a paddle in my hand. No, that’s not true. But I loved ping pong from an early age. When I was growing up in the 80’s, I wasn’t a cinephile. So I wasn’t watching art films and documentaries and all of that stuff. I was going to the local video store and renting VHS’s of ‘Summer Rental’ and ‘National Lampoon’s Vacation’ – not even ‘The Karate Kid’ but the knockoffs like ‘No Retreat, No Surrender’ and stuff like that.

“So what I wanted to do was make a movie that was kind of a love letter and a tribute to my own upbringing – my own normal, middle-class, not dangerous upbringing – and insert that into the movies that I loved unironically as a kid. When you describe it, it sounds formulaic but my hope is that we did some things differently that will make it really specific and entertaining for folks. I hope that people appreciate its earnestness because it is rooted in a love of movies that maybe you would call bad movies. It is a tribute to bad movies in a way but it takes itself very seriously and earnestly. So it is a weird alchemy.

“But I also hope that people just sit back and enjoy a movie that is a little more leisurely paced. The edits back in 1985 movies weren’t as fast as they are now and that was one thing we made it a point to do. And, ultimately, I hope that people will get out of the movie theater and want to go dig in their crates, pull out their old rap tapes from the 80’s and their old ping pong paddles and go out in their garage or their basement and fire up some ping pong.” – Michael Tully

Among the new movies that were released Friday, June 20 are a dramedy set in a small town, a cinematic adaptation of a Broadway musical and a comedy about growing up during the 1980’s.

‘The Grand Seduction’

Taylor Kitsch plays a big city doctor who lands in the lap of a small fishing village that must procure a physician in order to secure a lucrative business contract. Upon his arrival, the townsfolk rally together to charm him into staying. (PG-13 – 115 minutes)

“The Grand Seduction” is neither satirical enough nor cute enough and therefore falls right in the middle of the two extremes. And if you are not laughing out loud or feeling genuinely moved then you are more than likely just bored while you watch these simple townsfolk try to woo a big city doctor who never exactly comes across as a real character and instead serves as little more than a plot device. Granted, there is great potential here for either comedy or emotional resonance (or preferably both) but the only proficient part of this dramedy is its warm and welcoming setting. (Thumbs Down!)

‘Jersey Boys’

Clint Eastwood directs the story of four young men from the wrong side of the tracks in New Jersey who came together to form the iconic 1960s rock group The Four Seasons. (R – 120 minutes)

“Jersey Boys” – director Clint Eastwood’s cinematic adaptation of the Broadway stage play about Frankie Valli and the Four Seasons – lacks a certain theatrical energy that would have made it a musical masterpiece but there is no denying the power of not only its fascinating true-life tale but also its genuine nostalgia. Its look alone is enough to enchant older audiences while younger viewers will be smitten by its story, which is essentially one of struggle, success and loyalty through it all. And then there is the music, which transcends age and transports everyone to a far simpler time. (Thumbs Up!)

‘Ping Pong Summer’

Marcello Conte plays a shy teenager who, during his family’s 1985 summer vacation makes a new best friend, experiences his first real crush, becomes the target of rich local bullies and finds an unexpected mentor in his outcast next-door neighbor. (NR – 92 minutes)

“Ping Pong Summer” could use a bit more Pop Rocks candy and Pixy Stix powder mixed into its sweet story to give it some much needed energy but it makes enough of an emotional connection to keep viewers’ interest – and hearts – in play from beginning to end. Much like the game that is at the center of its tale, the new coming-of-age comedy is extremely low-key, getting from setup to conclusion without any particularly dramatic moments. However, that “chill” approach lends itself to the 80’s nostalgia that essentially defines this affable film. (Thumbs Up!)

Among the new movies that were released Friday, June 13 are a sequel to 2010’s “How to Train Your Dragon,” a romantic comedy starring Jenny Slate and a dramedy from writer/director/star Clark Gregg about the inner workings of the entertainment industry.

‘All Cheerleaders Die’

Caitlin Stasey plays a rebel girl who joins her high school cheerleading squad in an effort to take down the captain of the football team. However a supernatural turn of events thrusts the girls into a different battle. (R – 89 minutes)

The first hour of “All Cheerleaders Die” is fairly fun. Unfortunately, the pyramid pretty much completely collapses during the final act, which essentially throws all caution to the wind and not only oversteps the fine line that separates satire and stupidity but outright ignores such a line even exists. It is almost as though writer/director Lucky McKee misses his more serious cinematic efforts like “May” and “The Woman” and disregards the importance of tonal consistency. Until then, though, the new comedic horror flick is an entertainingly dark take on the high school experience. (Thumbs Down!)

‘How to Train Your Dragon 2’

Jay Baruchel once again voices a young viking who this time discovers an ice cave that is home to hundreds of new wild dragons and finds himself at the center of a battle to protect peace. (PG – 105 minutes)

“How to Train Your Dragon 2’s” animation soars far above that of not only most other Dreamworks productions but also a lot of animated adventures produced by other studios as well. There is no doubt that the sequel to 2010’s breakout hit is visually spectacular, mesmerizing audiences of all ages with aerial excitement. Fortunately, its story also suggests that this franchise still has plenty of fire in its belly, breathing life to the endearing theme of the overpowering and unbreakable bond that we humans have with our family members – two-legged, four-legged, winged or otherwise. (Thumbs Up!)

‘Lucky Them’

Toni Collette plays a veteran rock journalist who teams up with an eccentric amateur documentary filmmaker (Thomas Haden Church) to discover what really happened to a long-lost rock god who also happens to be her ex-boyfriend. (R – 97 minutes)

“Lucky Them’s” themes about living in the past vs. letting said past lie is both contemplative and compelling. Unfortunately, the story itself never gathers enough steam to make the most of those themes as the search that is at the center of it all keeps getting placed on the back burner in favor of frivolous romantic (more like lustful) affairs. To make matters worse, its characters are flimsy cliches and the only one of them who is even remotely likeable is Thomas Haden Church’s Charlie, who adds some much needed personality to the entire ordeal. The conclusion’s cameo and emotional depth draws us back in but it is too little too late. (Thumbs Down!)

‘Obvious Child’

Jenny Slate plays a stand-up comedienne whose unplanned pregnancy forces her to confront the realities of independent womanhood for the first time. (R – 83 minutes)

Some moviegoers are undoubtedly going to be appalled at the way that “Obvious Child” so nonchalantly applies the topic of abortion but the fact of the matter is that the procedure is one of the choices available to women who experience an unplanned pregnancy. And that grounding in reality is actually one of the new romantic comedy’s two most admirable traits – the other being its heartfelt approach in its reflection of relationships in modern times. Despite several scenes centered around stand-up comedy that are not even the least bit funny and a leading lady (Jenny Slate) that is inherently unlikeable, the flick is authentically charming. (Thumbs Up!)

‘Trust Me’

Clark Gregg plays a struggling agent for child actors – and former child star himself – who spends years losing his most talented clients to his slick, arch-nemesis (Sam Rockwell). (R – 90 minutes)

“Trust Me” is a very odd little motion picture. Writer/director Clark Gregg – who also stars in the new dramedy – tries to satirize the entertainment industry, thereby earning audience admiration through laughs, while also adding some depth to his project, thereby earning the title of artist that every filmmaker longs to have. And, at times, the mix is amusing – especially when Gregg’s co-star Sam Rockwell is on the screen. However, for the most part, it is just plain weird – with no scene stranger than the final one during which a character sprouts demon-like wings and flies away. (Thumbs Down!)

Actress Caitlin Stasey recently spoke with “Breakthrough Entertainment” about her role in the new comedic horror flick “All Cheerleaders Die.”

In “All Cheerleaders Die,” which opens Friday, June 13, Caitlin Stasey plays a rebel girl who joins her high school cheerleading squad in an effort to take down the captain of the football team. However a supernatural turn of events thrusts the girls into a different battle.

Listen to “Breakthrough Entertainment’s” full interview with Stasey by clicking HERE. The following is an excerpt from the interview in which the actress discusses what attracted her to the project, its “girl power” theme, the atmosphere on set and what she hopes viewers take away from the film.

“To be fair, first and foremost I really wanted the job. I think that everybody forgets that what attracts people to work is generally just a desire to work. I am not necessarily in a position where I can pick and choose as willfully as others. But I also just enjoyed the script. I thought that it was a really fun female-led comedy/horror – which was interesting to me.

“I think that the term ‘girl power’ in itself is sort of redundant because it is goes to prove that there is a difference between the sexes and there is a finite sort of amount of power that one perceives as being female and male. So, sure [‘All Cheerleaders Die’] is incredibly empowering for women but the term ‘girl power’ is [bad form].

“[The production] was really fun. The girls were great. They are all really talented, hard-working, sincere, compassionate young women and we had a really great time together. The dudes were really great as well – funny and sweet. And everybody was really respectful of each other. They were just really hard-working. When it is an independent feature, you sort of have to go above and beyond your station to make things comfortable for yourself.

“I do not really know if there is necessarily a lesson to be learned [in ‘All Cheerleaders Die’]. I think that it is just a case of come and watch this ridiculous film about these ridiculous adventures. And be good to each other. Don’t hurt each other. I guess that’s about it. There is really no morality to it.” – Caitlin Stasey

Writer/director Gillian Robespierre recently spoke with “Breakthrough Entertainment” about her new romantic dramedy “Obvious Child.”

In “Obvious Child,” which opens Friday, June 13, Jenny Slate plays a stand-up comedienne whose unplanned pregnancy forces her to confront the realities of independent womanhood for the first time.

Listen to “Breakthrough Entertainment’s” full interview with Robespierre by clicking HERE. The following is an excerpt from the interview in which the writer/director discusses her inspiration for the movie’s main character, its pro-choice backdrop and its comedic tone when dealing with sensitive subject matter.

“Donna is not me or Jenny [Slate]. Donna is somebody who I think is relatable. Her tone is honest. I think that we just had this urge and desire to make a story that was about a real woman doing real things about a choice that we had not really seen in movies. It had been on the peripheral and there are many ways that a woman can deal with unplanned pregnancy. This choice that we are showing in ‘Obvious Child’ is something that one in three women will have gone through in their lives. That is just a statistic that I have read. I am definitely not an expert.

“It’s not every woman’s story. I just think that we are telling an authentic story for this character – for this one woman. I think that no matter who is talking about it – whether they are [pro-life] or [pro-choice], whether they like the movie or do not like the movie – it is a good thing. I am OK with either side voicing their opinion. What is not OK is when somebody from the pro-life movement criticizes the movie without having seen it. That is a little annoying. But, either way, I am looking forward to a true conversation.

“I think that tragedy and comedy are very close together. When we sat down to write Donna’s tone, it was very similar to the tone that my friends and I have. We are kind of funny people. When big things happen in our lives, sometimes using comedy is not just a deflection. It is like actual medicine, helping you deal with big and small experiences in your life; tragic or not so tragic; from getting dumped to stubbing your toe to fighting with your parents – all of those things. It just feels like this character is a naturally funny person so she is going to be herself no matter what we dealt her. And we throw a lot at her.” – Gillian Robespierre