The Golden Circle obsessively fancies the ballyhoo of The Secret Service. But this only led to the realization of the predecessor’s superiority. And when Statesman become relevant, all the king’s horses and all Kingsman couldn’t put this film back together again.

Harry (Firth), the high-flying haberdasher with his stylish action sequences and intelligence, captivated us and Vaughn was well aware he was needed again. So Harry, not so subtly but miraculously, returns congruent to the outlandish premise of Kingsman. Sadly, he lacked his defining pizzazz. Eggsy (Egerton) cements his childish and confrontational charm but he functions best when Harry’s at his. Therefore, it can be said, that the film’s prerequisite for success proved to be its downfall.

POTUS’ (Greenwood) self-aggrandizing and flaky leadership was perfectly explored and certainly the highlight. Champ (Bridges) and Poppy (Moore) as opposing figureheads of newly introduced organizations results in mediocrity; sadly foiling the reunion of The Dude and Maude. And Elton John performing physical comedy was like watching that circus strongman get hit with the cannonball.

Even with its favorable oddity and folly taken into account, we confidently move to checkmate on Kingsman: The Golden Circle with 2.11 napkins out of 5.

In Popcornia, VT, home of FC HQ, we sometimes excitedly gather to discuss pictures that aim to simply toss us around for a couple of hours. American Assassin isn’t searching for identity, supremacy or ultimatum; only to keep your attention level, and respiratory rate, high. And in that regard, this film is solid.

This version of Mike Keaton, a brazen cocktail of many prior roles is, as a whole, the likes of which we haven’t seen. With his chiseled exterior and special ops moxie, Stan Hurley (Keaton) grips our attention as the obvious, and not-so-obvious, twists unfold. He begs us to trust him, despise him and favor him and we fall in line with all three. Mitch Rapp (O’Brien) is a balloon of focused rage after tragedy befalls. True to form, his picaroon style snoops around the world to wherever revenge could be had and displays a charming propensity for disobedience at each intersection.

As it progresses, the story noticeably trips over itself but not enough to ruin the film; only to recognize that four screenwriters were bumbling around the movie. American Assassin cannot track down that elusive third whole napkin, coming in at 2.97 out of 5.

Steve Soderbergh is well respected here at FC HQ. He gets free coffee in the cafe. But Logan Lucky is about as fortunate as seeing a black cat whilst walking under a ladder and stepping on a crack in the sidewalk. It’s an overstuffed and sloppy retread. And the worst part is the only noteworthy heist is that of our expectations.

The glaring flaw is the invisible antagonist. The Logan Curse is an unacceptable foe. We cannot see it’s reaction, root against it or even laugh at it’s peril. It’s weird. And as narrative apathy sets in, we struggle to remember why they are burgling the stadium in the first place.

Our forlorn brothers, Jimmy (Tatum) and Clyde (Driver), use their Piedmont parlance to mildly entertain during brainstorming and recruitment for their plan. A bevy of characters appear in a burst as the robbery is rushed. And Joe Bang (Craig) is one of the more forced characters in modern cinema. But at least there’s one memorable scene.

We hope that Soderbergh is just dusting off the lens with this effort. We loot the pantry for 2.01 napkins out of 5, reflecting a required 0.5 napkin deduction for the clichéd Fortunate Son close.

The Big Sick is famously misdiagnosed as a romantic comedy. There is way too much truth. With a healthy dose of unique social commentary and clever yarns mediating some heavy intercultural and interpersonal motifs, the film introduces comedic anecdotes as antidotes for a fairly dramatic film. And the results are bright and memorable.

We like stories. Maybe the authenticity of this one allows for more investment. But we think the likability of the characters transcends the validity of the material. Kumail (Nanjiani) is a practiced dry and brutally honest cultural comedian, sharing stories about cricket and customs of his native Pakistan. Emily (Kazan) is wit-matching and confident with an adorable persona.

Emily’s mom, Beth (Hunter), is forthright and spunky while Terry (Romano) is mellow and nonchalant. The evolving relationship between Beth and Kumail and Kumail and Terry as they unite over Emily’s health is both beautiful and anguishing. Kumail’s parents, Azmat (Kher) and Sharmeen (Shroff) humorously play the ideal cultural traditionalists looking after their son. The parents mold our characters and essentially the picture.

We only have a slight, but required, deduction for the unoriginal breakdown at the drive-thru. The Big Sick writes its prescriptions on 4.67 napkins out of 5.

Chris Nolan’s inherent resolution to bend chronology flips Dunkirk into a trippy memento of this miraculous evacuation. And, ergo, we are privy to this important story from different perspectives, making it original and exceptional.

From the film’s inception, Hans Zimmer’s score allows a sense of urgency to grow within and permeate through the picture. These sounds, like the persistent ticking timepiece throughout, depict decision making under pressure unlike anything we have seen. The surprisingly mild violence, a departure from the typical WWII drama, enables us to more clearly follow the overlapping events as they are presented sequentially. Suspense replaces violence. It is a different theatrical atmosphere.

Each of the three phases of the war introduce vital characters; Tommy (Whitehead) on land, Mr. Dawson (Rylance) at sea and Farrier (Hardy) in the air. Their interwoven stories of novelty, experience and nerve exemplify the many differences among all involved. Mark Rylance’ stoic portrayal of a civilian boat volunteer, instrumental in grasping the mentality of the day, is certainly a highlight.

This film represents marvelous single event storytelling as well as the prestige of the Film Clas elite. Dunkirk sails the high seas with 4.86 napkins out of 5 high on its mast.

Peter Parker tangled in the Marvel Cinematic Web is a bit strange for sure. But it makes some spidey-sense as our friendly neighborhood standalone hero was losing steam. In Homecoming, we permeate new life into Spider-Man through a well-thought comic interplay and the out-of-the-box freshness of Tom Holland.

Parker (Holland), with the noted side-part in his hair, is searching for approval from Tony Stark (RDJ), his new boss, with the special passion and inexperience of a novice. As the heroic missteps accrue, which anecdotes nicely, Parker’s ineptness at being Spider-Man serves as a great introduction.

This supporting cast impresses no matter the size of the role. The academic decathlon coach, Mr. Harrington (Starr) with his vintage Freaks and Geeks charm, Michelle (Zendaya) with all of her precious irony and Ned (Batalon) with his aspirations to be the “man in the chair”. Marissa Tomei adds an awkward teen parental component to Aunt May and we are privy to Michael Keaton evolving from washed-up superhero bird (Birdman) to a powerhouse superhero villain bird (Vulture).

The final cut scene with Aunt May balances the overbearing RDJ and silly Pepper Potts cameo just enough for Homecoming to stick to 4.48 napkins out of 5.

How do you explain the genius of Baby Driver? Well, it’s as easy as pi. Although we love pie here at FC HQ, we are indeed talking about the mathematical constant, π. Edgar Wright made a movie based on the steering wheel and the iPod click wheel and the steady interplay of these two familiar circles delivers a cinematic masterpiece.

Wright develops music as a character. It’s the beat of the film. The sounds of Queen are as important to the film as Doc (Spacey), Bats (Foxx) and Buddy (Hamm); each of whom are spectacular. Baby (Elgort) needs music to feel himself amongst these criminals and this manifests into incredible driving moxie.

The interaction and adoration between Baby and his deaf foster father, Joe (Jones), is wonderfully played throughout and their communication grounds the film. Deborah (James), with her siren-like voice and southern charm, gives Baby someone else to care about. Their toe-tapping and ear bud-sharing amongst the counterclockwise turning colors in the laundromat is a moment to savor.

Baby Driver spins the record of the Film Clas Elite, overcoming a mild, but required, deduction for casting a Red Hot Chili Pepper to heist 4.89 napkins out of 5.

Wonder Woman crashes through the glass ceiling of comic book films. And, in the name of Lynda Carter, delivers the most entertaining superhero film since Peter Parker was first nibbled by a spider.

The Amazon’s isolated and idyllic life on Themyscira is infiltrated by an air force pilot, Steve, who crashes while fleeing from the Germans after stealing the vital notebook of Dr. Maru. Diana, innocent, compassionate and passionate, believes in a people, whom she has never known, with such certainty that she will risk everything to save them, firstly Steve. This fascinating interaction of three different worlds (Human, Greek mythology, DC Comics) is where the strength of the film lies. It’s beautifully complementary.

Dr. Maru (Anaya) is one of the more sinister characters to cross the screen, both in intent and villainy persona. Steve (Pine) does well with magnetic charm, a slight outlaw riskiness and some every man clunkiness. And Diana (Gadot) falls into the complexities of the character as her humanity and deity coincide.

Behind the gratifying popcornality of the film, we missed a little campiness and we know slow motion is unnecessary in action sequences. But, truth be told, Wonder Woman still lassos 4.47 napkins out of 5.

Covenant face hugs us with ample alien-tertainment and reacquaints us with the angst and slapstick suspense of our favorite teen horror comedies of the past. These nostalgic connections open the hatch for an enjoyable ride while sealing off thoughts of an inconsequential and repetitive film. And we are just fine with it.

Our gullible pioneers respond to a John Denver tune emanating from a seemingly habitable planet. Oram (Crudup) sees an obvious opportunity for colonization especially after their forced early awakening from stasis. It is here where the film overtly grasps for aspects of its predecessor and its successor at the same time leading to predictable but thrilling chaos.

We want to believe in Ridley Scott even though he leads us away from human character development as this film is clearly about the droids, David (Fassbender) and Walter (Fassbender). Their interactions, motives and experiences guide Covenant in a strange and robotic manner. But Tennessee (McBride) and Daniels (Waterston) fall into their supporting characters nicely.

The glaring lack of catch phraseology, especially considering McBride’s epic history with a Daewoo Lanos, was disappointing. Although watchable, Covenant misses a close encounter with the Film Clas elite with only 2.98 napkins out of 5.

The Center guides us right into the middle of an early life struggle of actualization and truth and, throughout the film, we are anxiously suspended; understanding the appeal of The Center but believing its projected reasoning to be greedy gibberish. And writer/director Charlie Griak does wonderfully in allowing us to relish this confusion.

Ryan (Cici), a part-time copywriter, consistently exploited both in the office by his nudge and wink boss and at home by his softening commitment to his sister Allison (A. Einan) and mother (Razielli), finds an exit before the dead end. Through intermittent television snow, he stumbles upon an infomercial from which an influential voice symbolically emanates. Vincent Alexander (J. Einan), The Center’s leader, is a stylish and practiced orator with an alluring construct and grabs Ryan’s naive and ductile ear. Ultimately, we find Vincent and Allison both competing for what is best for Ryan but hope his own resilience will ultimately shine.

Griak displays his incomparable artistic finesse with beautiful directing, sharp editing and a stunning score. We couldn’t be more excited for our friend as The Center discovers all the answers in the rarefied air of the Film Clas elite, visualizing 4.99 napkins out of 5.