Paris Can Wait tries to be a light-hearted story of a woman at a life crossroads, but instead ends up feeling like a creepy stalker movie.
Eric D. Snider finds Cars 3 (pictured) fixing the mistakes of the misguided Cars 2, then making a bunch of new ones. Rough Night creates a farcical crude-comedy premise, then doesn't have the nerve to commit to it. The Book of Henry is such a misguided, emotionally manipulative disaster that even its meaningless subplots are incomprehensible.
David Riedel observes that the Tupac Shakur biopic All Eyez on Me takes a fascinating person and makes him boring.
Andrew Wright enjoys the primal-screamy B-movie satisfactions of the divers-trapped-with-sharks thriller 47 Meters Down.
In this week's feature, the 50th anniversary of the festival offers a chance to revisit D. A. Pennebaker's Monterey Pop documentary capturing the launch of the Summer of Love.