As the most recent rain continues to postpone a large number of summer activities for Coloradans, it would seem there is no better time for a rainy day at the movies. With a summer promised for huge blockbuster hits like Dwayne “The Rock” Johnson’s “San Andreas” and kid-friendly animations like Disney’s “Inside Out,” it would seem the rain came at the right time.

This past weekend, long-awaited flicks like Melissa McCarthy’s “SPY” and the longtime HBO television hit “Entourage” debuted in the box office amassing some successes, while others, in the weeks following their premiere (Think Cameron Crowe’s “Aloha”) faced near devastating box office numbers.

But as we continue to stay hopeful that the rain clouds will disperse, granting us with the hot Colorado summer we know and love, I decided to make our reader’s choice in movies a simpler one.

Among the box office Blockbusters in theaters now, here are 4 films to see or not see in June


It’s no secret that Melissa McCarthy and her iconic funny-woman persona have taken Hollywood by storm. After leaving us begging for more in her cinematic debut as the raunchy and memorable “Megan” in Paul Feig’s “Bridesmaids,” we’ve seen McCarthy in various other comedy roles (“Identity Theft” and “The Heat”) that brought the laughs but lacked the strong reviews from critics.

With McCarthy’s role in her first action-comedy hit, “SPY,” we see her star power like never before. According to Rotten Tomatoes‘ opening weekend wrap-up, “SPY” topped the North American box office, having opened with an estimated $30 million in its first week. With its notable star power, featuring co-stars like Jude Law, Jason Statham and Rose Byrne, and its unrelenting physical comedy and foul-mouthed dialogue (think “Bridesmaids” meets the “Hangover”), this positive buzz surrounding McCarthy’s first solo number one hit has us begging for more once again.


 …unless you’ve been following the HBO series since its beginning. Always known for its uncontested cult following, the “Entourage” premiere opened in fourth place at the box office and debuted with just $10.4 million in its first weekend. Staying in tune with the simplemindedness that sparked the shows super-fandom in the first place, the movie just seems to be an extended version of a particularly star-packed episode, and which now just seems woefully outdated.

However, for those who mold themselves into such super-fandom, on the contrary, appreciate the film’s attempts to stay true to its unlikely like-able entourage of men (pun intended) and its imperishable philosophy which guides the storyline that “everything will work out fine.” But if you don’t find yourself to be of that bias, I would advise skipping it.


One of the finer luxuries that comes with spending a day at the movies is allowing your brain to turn to mush and for the outside world to temporarily wash away. Movies filed under the category of “blockbuster hit” often struggle critically among viewers, herding complaints of cheesy dialogue or a few explosions too many. And although nothing pleases me more than a dialogue savvy plot that requires thought and interpretation, occasionally I too like for the outside world to wash away.

When a blockbuster hit, like “San Andreas,” is taken for what it is — a means to sink back in to your seat and be entertained for 127 minutes of pure explosiveness — box office success ensues. The disaster film currently resides in second place, following “SPY,” and earned as much as $26.4 million in the past weekend, already amassing $99.1 million thus far. With a hefty cast, sensory overloaded scenes, and eclipsing special effects, the plot may take the backseat, but the entertainment factor is in full swing. If you’re looking for just that, “San Andreas” is a must-see.


Few movie trailers get me as excited as Cameron Crowe’s “Aloha” did. Some of Hollywood’s most notable frontrunners (Bradley Cooper, Rachel McAdams, Emma Stone, Alec Baldwin) tumble their way through love triangles, new relationships and military woes set high expectations. Not to mention it being set in tropical paradise. (Hello, beautiful Hawaii). But even from its opening scenes, the meandering dialogue and hard-to-follow plot line left me confused right out of the gate.

Referred to as the “Elizabethtown in Hawaii” in other reviews, Crowe’s latest romance flick is clear to be result of poor editing and lack of character development. Often with the feel that there are several different films fit into one, we never get a chance to catch our breath among the insubstantial narrative and characters who are left lacking what we know Crowe is capable of (remember “Jerry McGuire”). For a movie endued with the aloha mentality, it sure was hard to keep up.