Brian Truitt

Just like the first one, Guardians of the Galaxy Vol. 2 is a winning and wonderfully relatable gem of crazy.

Hyperviolent, highly watchable action comedy.

Your mileage may vary when it comes to the over-the-top carnage and in-your-face machismo, but it’s impressive just how bonkers Fate is, like a litter of kittens hopped up on grade-A catnip.

Colossal is as refreshingly different a monster movie as it is a clever, timely take on bullying, domestic abuse and toxic masculinity.

The film is decidedly emotionally manipulative without being cloying, and often finds real humor in the complicated situation that arises around a genius 7-year-old, played by Mckenna Grace.

Despite the beautiful eye-popping world it creates, the sci-fi film Ghost in the Shell is a defective mess with lifeless characters, missed chances for thematic exploration and a minefield of political incorrectness.

It’s far from perfect, but Life’s worth living for two freaky hours.

The last half hour is filled with cheeseball visual effects, B-movie monsters and Banks — by far the most enjoyable aspect — hamming it up the best she can.

It’s when there's a distinct lack of King Kong that Skull Island turns into a plodding affair.

Here’s some Disney magic for you: The new Beauty and the Beast actually improves upon the animated classic.

Director Ry Russo-Young’s drama does manage to smartly dig into the real-world consequences of bullying and arrive at a provocative conclusion by having its main character live her final day on Earth over and over until she gets it right.

As funny and bitingly satirical as one would expect from his Key & Peele sketches.

Easily the best Wolverine outing, Logan is The Dark Knight of the mutant-filled X-franchise, a gripping film that transcends the comic-book genre by saying something important — and for Logan, that means coming to grips with needing loved ones in his life.

The Great Wall crumbles mainly because of its wholly predictable plot, wretched dialogue and dud of a filmgoing experience from noted director Zhang Yimou (House of Flying Daggers).

There are a lot of negative things to be said about Fifty Shades Darker. But it does impress in one sense: The erotica lite sequel somehow manages to be worse than the stupefyingly bad "Fifty Shades of Grey."

While The Dark Knight won't be supplanted any time soon as tops among Bat-movies, the new film makes a strong argument for second-best simply by taking time to explore the core of Batman that others haven’t: He’s a complicated mess who can’t get out of his own way long enough for the greater good.

There’s fish-out-of-water hijinks as the Martian boy looks for the dad he never knew, but the whole sci-fi narrative collapses into a mess of illogical story beats and groan-inducing quasi-tragic bits right out of "Love Story."

While McConaughey does his part, there’s just not enough treasure here in Gold to dig.

What resonates more is his more subtle exploration of how people deal differently with trauma and the power of connection. That message — and a captivating McAvoy — will stick with you long past the thrills of a cool twist.

There is a certain jittery edginess to Keaton’s Kroc but the actor imbues his character with such folksy likability that it’s a subtle turn from working-class go-getter to greedy bad guy.

In other hands, Patriots Day could have been a paint-by-the numbers action thriller, but strong performances and well-paced momentum make it an engrossing watch.

While the filmmaker conjures beautiful imagery and a subtle exploration of fathers and their children, the good stuff is too often caught up in a muddle of well-tread crime clichés.

Monster offers a cathartic study in overcoming loss and traversing the fine line between childhood and adulthood under tragic circumstances.

The film's big breakout is Monáe, the Grammy-winning musician who impressed in a small role in Moonlight but showcases a wealth of talent as the youngest and most opinionated of the three main women.

In a year full of talking-animal hits, Sing isn't quite as strong a number. It's a tale that might not be particularly thought-provoking but sure is toe-tapping.

One of the deeper and most thoughtful projects in Scorsese’s career. It feels as though his entire Hollywood career has culminated in this grand quest, which while excessively long, effectively explores the brutal costs of unbending faith.

An unseasonably cynical assault on the holiday spirit.

Washington has put together a troupe that crafts a retro story that’s still completely relatable, no matter one’s race, and brilliantly plays a protagonist that finds the sweetest spot between lovable and loathsome.