Matinee

PARKER MACK as Mikey is attacked by LULU WILSON as Doris in "Ouija: Origin of Evil."  Inviting audiences again into the lore of the spirit board, the supernatural thriller tells a terrifying new tale as the follow-up to 2014Õs sleeper hit that opened at No. 1.  In 1965 Los Angeles, a widowed mother and her two daughters add a new stunt to bolster their sŽance scam business and unwittingly invite authentic evil into their home.  When the youngest daughter is overtaken by the merciless spirit, this small family confronts unthinkable fears to save her and send her possessor back to the other side.

PARKER MACK as Mikey is attacked by LULU WILSON as Doris in "Ouija: Origin of Evil." Inviting audiences again into the lore of the spirit board, the supernatural thriller tells a terrifying new tale as the follow-up to 2014Õs sleeper hit that opened at No. 1. In 1965 Los Angeles, a widowed mother and her two daughters add a new stunt to bolster their sŽance scam business and unwittingly invite authentic evil into their home. When the youngest daughter is overtaken by the merciless spirit, this small family confronts unthinkable fears to save her and send her possessor back to the other side.

Starts Friday

BOO! A MADEA HALLOWEEN: Not reviewed

Tyler Perry’s Madea deals with assorted Halloween frights and a group of trouble-making teenagers. (Rated PG-13 for drug use and references, suggestive content, language, some horror images and thematic material)

JACK REACHER: NEVER GO BACK: Not reviewed

Tom Cruise is back as the protagonist of Lee Child’s series of best-selling novels. This time Reacher must unravel a government conspiracy in order to clear his name. Cobie Smulders costars. (Rated PG-13 for sequences of violence and action, some bloody images, language and thematic elements) (AP)

KEEPING UP WITH THE JONESES: C

(Rated PG-13 for sexual content, action / violence and brief strong language) (AP)

OUIJA: ORIGIN OF EVIL: Not reviewed

Lin Shaye, Elizabeth Reaser, Henry Thomas, Doug Jones and Annalise Basso star in the sequel to the 2014 horror hit. (Rated PG-13 for disturbing images, terror and thematic elements)

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THE ACCOUNTANT: C

Ben Affleck plays a paper-pushing CPA — roughly the exact opposite of Schwarzenegger or Stallone — whoe gets his shot at action hero stardom. If we pull out our calculators, we can deduce that the odds of this are slim. But “The Accountant” has much grander goals of implausibility. It’s about a secretive, autistic accountant for prominent criminals who’s a muscular, military-grade hit man by hobby, plagued by his father’s relentlessly militaristic parenting, who becomes embroiled in a robotic prostheses company’s bid to go public. If nothing else, it’s singular in lending an action-movie cliche an absurdly peculiar and elaborate backstory. (Rated R for strong violence and language throughout) (AG)

BAD MOMS: C-

The comedy “Bad Moms” fancies itself a “Hangover” for the PTA set. And, while a wild send-up of modern parental perfection is a fresh subject for a fun summer comedy, “Bad Moms” is ultimately rather conventional. It feels a little bit like a frat bro’s fantasy of “Mom’s Day Off.” Perhaps that’s because this film is from writer / directors Jon Lucas and Scott Moore, the screenwriters behind “The Hangover” and the party movie “21 & Over.” The saving grace of the movie is the oddball friendship that develops among the three mothers (played by Mila Kunis, Kristen Bell and Kathryn Hahn). But everything goes off the rails in the third act. (Rated R for sexual material, full frontal nudity, language throughout and drug and alcohol content) (AP)

THE BIRTH OF A NATION: B-

This is a fine and promising debut from director and star Nate Parker, who also co-wrote and produced. It also feels very much like a first film, too, unable to reach the lofty artistry that it’s striving for in juxtaposing unimaginable human injustices with both lyrical spirituality and shocking violence. The movie follows the life of slave Nat Turner from childhood to his death at age 31. Ultimately, it’s less a good faith attempt at reconstructing Turner’s life and more a stylized fable, loosely rooted in an extraordinary true story. (Rated R for disturbing violent content, and some brief nudity) (AP)

BLAIR WITCH: C

“Blair Witch” borrows most of the skeleton of the original 1999 film but ups the scariness at the cost of coherency. Director Adam Wingard also strays from the found-footage conceit and sometimes doesn’t even pretend that what we’re seeing was shot by anyone in the group. The original was quaint horror by today’s standard, more psychologically traumatizing and not at all gory. It ended with a snot-nosed, half-faced apology by one victim. In the sequel, her brother (Brandon Scott) is determined to find out what happened 20 years ago. This sequel gets progressively messy while “The Blair Witch Project” grew progressively taut and only rights itself in the final, breathtaking sequences. (Rated R for language, terror and some disturbing images) (AP)

BRIDGET JONES’S BABY: B

Renee Zellweger is charming as ever in “Bridget Jones’s Baby,” a lively return to form for the unlikely trilogy about an ordinary woman and her professional and romantic woes. It turns out a little break is just what this series needed to find its footing after the manic missteps of “Bridget Jones: The Edge of Reason.” Here Bridget discovers she’s pregnant, and the father could be her ex, Mark Darcy (Colin Firth), or a her new boyfriend, a relationship guru (Patrick Dempsey). (Rated R for language, sex references and some nudity) (AP)

DEEPWATER HORIZON: A-

We all know how the story ends. When the BP oil rig exploded in the Gulf of Mexico in 2010, 11 people died and millions of gallons of oil spewed into the waters and up against the Gulf shores in the worst environmental disaster in U.S. history. The how-did-it-happen is another thing, and the point of director Peter Berg’s intensely thrilling indictment of the greed and gross negligence that contributed to the horrific outcome. It rises above expectations of what a movie like this is capable of at every turn achieves that impossible balance of being a tribute to the workers who both perished and survived that day and a searing critique of the rotten system that put them there in the first place. (Rated PG-13 for prolonged intense disaster sequences and related disturbing images and brief strong language) (AP)

DON’T BREATHE: B

Written by director Fede Alvarez and Rodo Sayagues, “Don’t Breathe” pits a team of inept burglars against a homeowner who fights back. In that sense, it’s kind of like a twisted “Home Alone” for millennials. It is almost a throwback to older horror films. It’s meticulously planned and thrillingly satisfying with a camera always a step ahead — if you see an array of sharp tools near the beginning, bet on them being used at some point. The discordant soundtrack manages to capture dread beautifully. (Rated R for terror, violence, disturbing content and language including sexual references) (AP)

GHOSTBUSTERS: B

The easy, electric chemistry of the four leads in Paul Feig’s movie acts like a firewall against the supernatural and the adolescent alike in this spirited reboot of the 1984 original, starring four female Ghostbusters, played by Melissa McCarthy, Kristen Wiig, Kate McKinnon and Leslie Jones. His “Ghostbusters” makes some winks to the uproar that preceded his gender-swapping film, but it mostly steers straight ahead, too busy being funny to worry much about misogynist detractors. It does, however, pay a lot — too much — attention to placating “Ghostbusters” fans with the familiar showdowns and iconography of the original two films. (PG-13 for supernatural action and some crude humor) (AP)

THE GIRL ON THE TRAIN: C

Its old-school title may suggest Alfred Hitchcock or maybe David Fincher, but Tate Taylor’s adaptation of Paula Hawkins’ best-selling novel is nowhere near the league of either. Instead, it’s closer to the kind of early ’90s psychological thriller where bad things happen in slow motion and deadly instruments are drawn from kitchen drawers. Emily Blunt  can’t quite pull off the famously difficult task of believably playing drunk, but it’s her steely presence that gives “The Girl on the Train” the veneer of a film better than it is. But Taylor (“The Help”) isn’t able to believably blend the overlapping perspectives and “The Girl on the Train” comes across as a flat, predictable puzzle whose characters flip from one extreme to another. (Rated R for violence, sexual content, language and nudity) (AP)

KUBO AND THE TWO STRINGS: B

Travis Knight, president of animation house Laika, makes his directorial debut with this stop-motion animated film. Propelled by imagination rather than might, “Kubo” is a quest of family and folktale through dazzling animated landscapes. Sometimes straining for quirkiness, it isn’t without fault. For a film deeply rooted in Japanese folklore, the cast is full of American voices. And nothing quite ruins a good story like the teller nattering on about the beauty of storytelling. Still, the handcrafted textures and wry self-awareness of “Kubo” make Knight’s film resolutely its own tale, one that folds into its own exotic shape. (Rated PG for thematic elements, scary images, action and peril) (AP)

THE MAGNIFICENT SEVEN: B-

Since superhero movies are a lot more common than Westerns at the multiplex these days, maybe it shouldn’t be surprising that this movie feels less like a remake of a classic Western and more like an OK superhero movie. Director Antoine Fuqua creates a Western that is both revisionist and regressive. The rainbow coalition that makes up his “Magnificent Seven” (Denzel Washington, Chris Pratt, Ethan Hawke, Vincent D’Onofrio, Byung-hun Lee, Manuel Garcia-Rulfo, Martin Sensmeier) certainly has a modern feel; the storytelling sometimes is as formulaic as a 1950s Audie Murphy Western. (Rated PG-13 for extended and intense sequences of Western violence and for historical smoking, some language and suggestive material) (AG)

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