Calvin Wilson

Skyscraper clearly aspires to be a 21st-century update of “Die Hard” (1988), one of the best action thrillers ever made. Instead, it’s just another film that squanders the movie-star charisma of Johnson, who should consider lending his box-office clout to more worthy projects.

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.

Perhaps it’s time for a moratorium on road movies. Despite its strenuous efforts to come across as quirky and original, Boundaries goes nowhere.

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.

One has to wonder why the film was even made if it had to be so disastrously compromised. Chekhov would be appalled.

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.

A disgrace and a waste of the talents of Oscar winners Keaton, Fonda and Steenburgen and Emmy recipient Bergen. Obviously, the film is intended for an older audience. But is this anemic, feature-length sitcom really the best that Hollywood can do?

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.”

Working from a screenplay that he co-wrote with McCarthy, director Ben Falcone (who happens to be her husband) keeps things moving but without much of a spark.

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.”

This film might give you the urge to check out a comic-book movie.

Clearly, this is a star vehicle — and the eminently likable Johnson is unquestionably a star. Through sheer force of personality, he elevates Rampage into something reasonably entertaining.

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

It’s downright depressing to see Oscar winners Hunt and Hurt struggling to make something meaningful out of their superficially written characters.

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.

Tickets to Pacific Rim Uprising should come with a package of aspirin.

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.

Based on true events, 7 Days in Entebbe pulls off the difficult trick of making terrorism boring.

It’s hard to understand what went wrong — the cast couldn’t be more appealing, and the film is bursting with special effects. But as an emotionally satisfying experience, it’s a bust.

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.

Portman is eminently watchable as Lena, who slowly realizes that she’s in way over her head. And “Ex Machina” star Isaac virtually redefines creepiness.

In our increasingly polarized time, A Fantastic Woman bridges the gap between ignorance and understanding through the transcendent power of art.

An art film in the classic sense — ambitious, provocative and hard to shake off.

Believe the hype: Black Panther transcends its comic-book origins, achieving a mythic grandeur that’s nothing short of exhilarating.

A wonderfully acted and stylishly mounted tribute to a screen legend in danger of being forgotten. Unfortunately, the film focuses too much on Grahame’s illness and eventually succumbs to melodrama.

If you’ve got a hankering for a Western, Hostiles is must-viewing.

The film will be of particular interest to foreign-policy wonks, but it also plays well as a drama about the limited ability of any president to have a lasting impact.

Director Nicolai Fuglsig delivers an action drama that gets the job done without ever catching fire. But the well-chosen, charismatic cast makes the most out of the material.

A timely docudrama about the role of the press in holding politicians accountable. But in the hands of director Steven Spielberg, the film plays more like a thriller than a history lesson.

Acting opposite Day-Lewis must give even the most confident actor pause, but Krieps proves to be up to the challenge. And Manville, perhaps best known for her work with director Mike Leigh, is spellbinding. This film will haunt you.

It’s just sad to see the always interesting Farmiga wasted in such a hackneyed role.

This is a “Game” that couldn’t be more fun to watch.

An absorbing drama that represents director Ridley Scott (“The Martian”) at his best.

Working from a screenplay that he co-wrote with Jim Taylor, Payne delivers what must be his least funny film — if, indeed, his intention was to be funny.

Perhaps best remembered as a showcase for Stuhlbarg, who delivers a poignantly beautiful monologue that eclipses everything else in the film.

Highly enjoyable while you’re watching it, but it’s not particularly memorable.

Like the fairground ride for which it’s named, Wonder Wheel is entertaining but not enlightening.

One of the best films of the year.

Star Wars: The Last Jedi has more than enough action, humor and stuff blowing up to thoroughly satisfy fans of the long-running franchise.

A gripping account of a pivotal moment in the early days of World War II, grounded by an Oscar-worthy performance by Oldman.

James Franco is fascinatingly weird as Wiseau, and brother Dave Franco complements him perfectly as a regular guy who has little choice but to go with his flow.

Entertaining in a way that’s practically unheard of these days. It’s about the sheer exhilaration of expressing yourself, no matter what anybody thinks.

Working from a screenplay by Susan Coyne, director Bharat Nalluri maintains a pace that brings to mind a wagon loaded down with too many Christmas trees. Though the movie has a great look, it’s short on storytelling magic.

It’s an interesting showcase for Carell, who turns in an uncharacteristically low-key but heartfelt performance. Cranston is more than a bit over the top, but Fishburne balances him out.

An intense, provocative drama about religion and its impact on those who embrace it as essential to their lives.

Lady Bird might finally be the role that earns Ronan (“Brooklyn”) an Oscar. As a young woman at odds with the world, and herself, she illuminates the film. Also worthy of Academy attention is Metcalf, who is sheer perfection as the quintessential stressed-out mom.

This is a generic, uninspired and mind-bogglingly boring comic-book movie that’s out to steal your money and time.

An emotionally involving drama that deftly sidesteps mawkishness.

Based on a book by Brian Selznick, Wonderstruck is a visually striking film that’s uncompromising in its approach — less about narrative momentum than about surrendering to the power of images.

This is the feel-bad film of the year. Recommend it to someone you hate.

Although Branagh delivers a film that’s reasonably watchable, the not-so-mysterious truth is that Murder on the Orient Express didn’t need to be remade.

One of the silliest and least substantial of recent comic-book movies — a jokey, unapologetically nonsensical romp that makes “The Avengers” look like “The Godfather.”

Suburbicon is a flawed attempt at dark comedy, but it’s hardly the disaster that critical buzz would have you believe.

Teller turns in one of his best performances as the contemplative Adam, who’s haunted by the choices he made on the battlefield. And Koale brings a poignant vulnerability to Solo.

Delivers a story that feels more like a footnote to history than a neglected chapter. But the cast is first-rate, notably Neeson in the title role. “Mark Felt” benefits mightily from his very particular set of acting skills.

Garfield (“Hacksaw Ridge”) brings his usual boyish charm to the proceedings while allowing for the occasional burst of precisely calculated angst. Foy (Netflix’s “The Crown”) arguably has the more difficult role, hinting at Diana’s inner doubts while maintaining a sunshiny demeanor.

One of the freshest and most entertaining films of the year.

Winslet deftly balances spunkiness and vulnerability, and Elba (still fondly remembered as a surprisingly erudite criminal on HBO’s “The Wire”) exudes brooding masculinity.

Director Denis Villeneuve (“Arrival”) delivers a moody, visually stunning celebration of existential angst. Not that he skimps on the kind of mayhem that’s de rigueur these days, but you have to wait for it — and wait for it. But when it does arrive, it’s awesome.

Liman and Cruise previously worked together on the brilliant but overlooked science-fiction flick “Edge of Tomorrow.” Their latest collaboration, which boasts one of Cruise’s best and most charismatic performances, deserves to be a hit.

The fact-based Stronger is an inspiring tale of reconciliation and reinvention that sidesteps sentimentality to get to emotional truth.

This is the rare mainstream film that addresses the complexities of real life. Brad’s Status may motivate you to question your own.

This is a movie that Holden would have skipped.

Naysayers will no doubt argue that mother! is an incomprehensible mess. But as sheer visceral filmmaking, it’s a must-see. If you’re looking for meaning, read a book.

If you’re looking for a film that’s guaranteed to have you gripping your seat, this is It.

Based on a true story, Crown Heights is a predictable but moving story of friendship and perseverance. Writer-director Matt Ruskin elicits strong performances that go a long way toward compensating for the film’s often languid pace.

Webb delivers a film that’s somewhat derivative, but succeeds as a welcome alternative to superhero extravaganzas.

Good Time is not so much a crime drama as it is a meditation on the genre’s virtues and limitations.

Tatum is terrific as a sort of anti-Clooney, and Driver complements him perfectly.

Friedel turns in a poignant performance as a man who feels that he has no choice but to act on his principles, regardless of the consequences.

A well-crafted drama about the comforts and insecurities of family life.

The film is hard to watch, but its timeliness is impossible to ignore. Still, a case could be made that Bigelow dwells on the violence a bit too obsessively.

Director Matthew Heineman (“Cartel Land”) sticks with the group as it moves from strategy meetings to safe houses, documenting not only its political commitment but also intimate moments of reflection.

A rebuke to the genteel period costume dramas that have long reigned as arthouse staples. Working from a screenplay by Alice Birch, director William Oldroyd turns the genre on its head, penetrating the pretty exteriors that conceal wild and dangerous emotions.

A stylish but empty spy flick, redeemed only by well-executed action sequences.

Working from his own screenplay, director David Lowery (“Ain’t Them Bodies Saints”) delivers a risky, challenging film that unfolds with a spellbinding momentum. Just what it all means is left to the viewer to contemplate.

Seldom has a film so eloquently captured the craziness, brutality and arbitrariness of war. Dunkirk just might be Nolan’s masterpiece.

Valerian has some cool visuals. But there’s more to science fiction than pretty pictures.

Maudie is a work of art.