Alissa Wilkinson

It summons an erotic orientation toward the world with all its power, and then pours it onto the audience. It is, undoubtedly, Guadagnino’s masterpiece.

While Coco brings a lot of sweetness and light with it (and, undoubtedly, a lot of happy tears), not one story beat includes something to startle the adults in the audience into realizing something new. No movie has to do that. But Pixar once was reliably in the business of making indelible cinematic crowd pleasers — and now it feels like it’s settling into something much more routine.

While the movie’s premise feels prone to the maudlin, it’s ultimately quite poignant; Wonder is a family-oriented tale in which people make mistakes in the way they treat one another, but learn and grow in a way that doesn’t feel condescending to the film’s younger audience.

It is a sober, clear-eyed, and haunting work of art.

Lady Bird is the rare movie that manages to be affectionate, entertaining, hilarious, witty, and confident; it’s one of the best films of 2017, and certainly my favorite.

A Bad Moms Christmas is thin and silly, like an overlong Christmas episode of a sitcom you pair with some reheated lo mein when you can’t figure out what else to do on a stray weeknight.

Burying self-referential allusions in the background and merrily poking viewers till they bruise, The Square at times feels more like longform performance art than a narrative film. It’s social satire by way of art-world comedy, and no woke participant is exempt from its barbs.

Thank You for Your Service is moving and unflinchingly honest — and its release comes at a time when its central theme feels depressingly relevant.

Its workmanlike cinematic language can’t quite capture the urgency and expansiveness of Didion’s vision as a writer, and how keenly and bitingly she managed to forecast the insanities that plague our time.

While Novitiate is unsteady in some places, it’s genuinely moving, bolstered by Qualley’s and Nicholson’s performances in particular, as well as a host of talented supporting actresses.

Even though no movie that lends itself to individually tailored special effects should be a royal snoozefest, it’s 2017 and everything is awful, and so, too, is Geostorm, a disaster movie without a disaster and an apocalypse flick lacking the apocalypse.

The film’s revelations are two-pronged: They uncover much about the Hasidic community, while also more broadly exposing how insular groups keep people in and everyone else out. It’s hard to leave, even when staying is impossible too.

Watching The Snowman keeps you so thoroughly occupied with trying to figure out why the movie itself exists that all other questions become irrelevant.

Casting the movie as Marshall’s story — and then skimping on Marshall himself, one of the most interesting figures in US history — winds up skewing the film in ways that end up inadvertently denigrating the subject.

As a professional film critic, I’m also obliged to tell you that The Mountain Between Us isn’t a very good film. But it’s not unwatchable, either, probably owing to the fact that its two leads are great actors in their own right, and they’re willing to take the whole thing quite seriously.

It’s not mere fan service; the film tries very hard to sustain interest with new characters and developments that draw on the past without being handcuffed to it, throughout its sometimes ponderous 163-minute runtime. But far too often that attempt to be interesting fails.

Battle of the Sexes, for all its failings, is still enjoyable to watch. Stone in particular is terrific, and Faris and Dayton make the smart choice to shoot the film with the kind of texture and camerawork that evokes movies from 1973. But as a sports movie, it’s unsatisfying — though that’s not exactly its fault.

It’s not that American Made doesn’t have anything to say; it’s just that whatever it has to say has been said better somewhere else. It’s not bad; it’s not good, either. It’s just shallow.

For its faults as a movie, the story is still compelling as a bit of history, and more so in the midst of a presidential administration that at times seems to be taking all the wrong lessons from Nixon.

Every performance in this movie acknowledges that while tragedy is what prompted the film’s events, its contours, characters, and conversations are pure, inky black comedy. Absurdity makes for good humor, and the screwed-up world in which these characters live is nothing if not absurd.

Sorkin is still a better writer than director, but the fun of watching this film comes mostly from witnessing him at the top of his game.

Del Toro always renders his films’ social critiques in fantastical and imaginative images, and The Shape of Water is among his best, with a creature that’s both fully reptilian and strangely human.

It makes a run at cleverness, trying to be a dark screwball commentary on America’s race problem. But instead it’s just a spectacular flop.

Mother! is a mad fantasia of fire and water and insanity, a spinning, flaming plume that is not here to make you like it, though it wouldn’t mind if you decided to just bow down in worship.

It does just what it sets out to do: Give us a bit of fantasy, and then let us remember the joy of reality.

The Hitman’s Bodyguard is strangely soulless, particularly for a movie that wants to be about murder, morality, and revenge. Those elements are there only to serve up the appearance of a smart film, when The Hitman’s Bodyguard would have been better served by sticking to pure action and stupid humor.

The best part of Logan Lucky is that from the get-go you know you’re in confident hands, and whatever’s about to happen, it’s going to be great.

For most of the movie’s runtime, it seems like a story about coming to grips with your complicated feelings about the past, but by the end, some of the complexity seems to have evaporated.