Calvin Wilson

Foster (“Hell or High Water”), who is best known for portraying unhinged and dangerous characters, is intriguingly enigmatic as Will. And Harcourt McKenzie turns in a hauntingly memorable performance.

Ant-Man and the Wasp is a vast improvement on “Ant-Man” (2015) — and one of the most entertaining releases from Marvel Studios.

An adequate action film, but it lacks the envelope-pushing artistry of the original.

A refreshingly down-to-earth comedy-drama about family, ambition and the liberating power of music.

Another “Jurassic” flick wasn’t necessary, but it’s a fantastic ride all the same.

Rogers has been criticized by conservative pundits and parodied by comedian Eddie Murphy. But those backhanded acknowledgments only confirmed his status as a force to be reckoned with.

Bursting with style and imagination, The Incredibles 2 sets a standard that few superhero flicks — animated or live-action — can match.

Hotel Artemis is neither a sequel nor a remake, but a film of considerable originality. And that makes it a rarity at the multiplex.

The charismatic cast can’t be faulted. Bullock and Blanchett are more than credible as crooks, and Hathaway is delightful as the self-absorbed Daphne. Unfortunately, Ocean’s 8 turns out to be a poor showcase for their talents.

In one of his best roles, Hawke is galvanizing as a man who has lost his way and is desperately searching for meaning in his life. And as Mary, Seyfried turns in a poignant and beautifully nuanced performance. Provocative and mesmerizing, First Reformed is a film that demands to be seen.

After a rough start, the film achieves escape velocity to generate escapist thrills.

The film’s greatest asset is Reynolds, who in Deadpool finally found the role of his dreams. Reynolds totally sells the character’s blend of reckless self-absorption and reluctant heroics.

In his affect and attitude, he’s refreshingly free of bluster. And it’s almost unbelievable that a man of his power and prestige insists on maintaining such a modest lifestyle.

The kind of film that’s capable of eliciting wildly different reactions. Art-film aficionados would be impressed with its atmospheric storytelling and emphasis on character. Devotees of mainstream cinema would likely complain that “nothing happened.”

Not many films address motherhood with as much irreverence and insight as Tully.

A comic-book flick that’s as thrilling and enthralling as it is pretentious and preposterous. The story is just an excuse for the action sequences, and the Marvel strategy remains intact: When in doubt, blow stuff up.

Lean on Pete is not the sentimental boy-and-his-horse flick that audiences might expect, and it’s certainly not for children. It’s a contemplative art film of subtle beauty.

I Feel Pretty takes a while to get going, but it eventually finds its groove and proves to be an amusing showcase for Schumer’s talents.

Beirut is a solid political thriller that makes the most of St. Louis native Hamm, who is still best known for his starring role in TV’s “Mad Men.”

If you’re looking for a film that will keep you thrillingly off-balance, this is the place.

The film is not only hilariously entertaining, but also firmly in the tradition of such political parables as George Orwell’s “Animal Farm.”

Particularly impressive is Ashkenazi (“7 Days in Entebbe”), who brings to Michael a soulful but volatile insecurity. It’s a hauntingly realized performance. This is a different kind of war film — and a brilliant one.

Although Ready Player One is nowhere near as memorable as “Jaws” or “Close Encounters of the Third Kind,” it demonstrates that the director is fully capable of adapting to the times. What the film lacks in substance, it makes up for in style.

Although the film is frequently brilliant, it’s not quite as clever as it thinks it is. The cast, however, is terrific. Particularly good is Buscemi, who’s engagingly cranky as Khrushchev.

Director Roar Uthaug (“The Wave”) delivers a state-of-the-art popcorn flick that’s at its best when the focus is on the spunky Lara rather than the special effects.

These days, every other film seems to be an audition to make a Marvel movie — but not Loveless. This is cinema of the first order.

Cooke is particularly impressive, imbuing Amanda with a chilling misanthropy. Taylor-Joy plays Lily as a bit too sympathetic, but she nails the character’s cluelessness. And Yelchin, who died in 2016 at the age of 27, turns in a performance that’s as quirky as it is memorable.

Working from a screenplay by Justin Haythe (“Revolutionary Road”), director Francis Lawrence — who worked with Lawrence on three of the “Hunger Games” films — fails to establish much of a momentum.