E. Oliver Whitney

Good Time is a uniquely exhilarating experience with a sharp, unflinching style and a magnetic performance from Robert Pattinson.

Detroit suffers from muddled intentions and a lack of a clear why. It could have maintained a narrower focus on the lives of the black folks affected by the motel incident. Instead, Detroit tries to accomplish too much too cautiously.

There's certainly a thrill to watching a single woman lead a movie where she's chasing down criminals like an unstoppable killing machine. Is Kidnap inane? Totally. But fun? You bet.

Soderbergh did some impressive work during his break from the movies, but Logan Lucky proves his talents need to be showcased on the big screen, melding crime and suspense with comedy.

The latest from the French filmmaker is a dazzling feast of spectacular visuals and exhilarating set pieces. It’s Besson’s most ambitious film to date, and the most original big-budget adventure you’ll see on screen this season. But such ambition doesn’t always come without flaws.

The film deepens the melancholic, existential notes from end of The Trip to Italy, and continues to evolve with its characters emotionally.

There’s certainly a lot to enjoy in The Fate of the Furious, but even the strongest moments are less spectacular this time around.

Conceptually, it’s an ambitious undertaking; but as fascinating and perplexing as it all is, I’m not sure McDowell’s film really achieves its goals.

The biggest problem is that Ghost in the Shell has nothing smart or interesting to say — it just thinks it does.

Power Rangers is fun when it leans into the original series’ campy sensibility.

This derivative sequel might please devoted fans looking for a quick fix of nostalgia, but with nothing new to say, it seems not even Boyle and his cast are sure why T2 Trainspotting exists.

Malick has found a way to translate how a familiar song has the ability to transport you back to a particular time and conjure a specific set of emotions. Whatever he’s been exploring over the past few years pays off here. Song to Song is far from his strongest film, but it’s his best and most exciting work since The Tree of Life.

You can try to enjoy The Great Wall as a delightfully crappy blockbuster, but when you remember this is a Zhang Yimou film, it’s just a disappointment.

It’s Verbinski’s eye that makes A Cure for Wellness such a wild, nightmarish treat.

Ultimately it’s Finley’s sleek and stylish visual language that makes Thoroughbred a must-see, and one of the best surprises out of Sundance. He composes his shots with such precision, control, and confidence.

Even if you’re unfamiliar with the movements in the film, Manifesto is still a brilliant display of Blanchett’s unstoppable talent and Rosefeldt’s ability to use one art form – filmmaking – to explore so many others.

Guadagnino does a remarkable job of capturing the tension and anxiety that comes with not only first love, but first-time queer romances.

There’s a novelistic quality to Mudbound that elevates it from what could have been a traditional and singular story about struggle and oppression into a layered, multi-dimensional one.

Funny, feel good, and touching, The Incredible Jessica James will leave you with a smile on your face.

Although it’s sometimes uneven with somewhat underdeveloped characters, I Don’t Feel at Home is nonetheless a clever blend of two very different genres. Blair’s mix of humor and feverish violence works best in the film’s final act, when things turn completely nutty.

It’s a tender, introspective film you’ll want to pull in close, hold tight, and keep with you.

If Passengers was about two people who woke up at random and fell in love, it could be a pretty decent sci-fi adventure. Instead it suggests that consent doesn’t matter, codes stalking as romance, and lionizes its male lead while turning its female character into a love-sick damsel.

Rules Don’t Apply could have been an insightful look at a tragic, troubled figure. Instead Beatty made a conventional romance with lead characters we hardly care about.

Fantastic Beasts is a good movie, and offers a fun and inventive return to Rowling’s wizarding world, but it could have been a better movie if didn’t waste so much time setting up a new franchise.

The movie gives us fragments of characters and rich flashbacks, but they’re not supported by a fully-formed narrative. Lee has boldly introduced a new technology, but that technology was a bad fit for this project.

Taylor’s film lacks the suspense required of a thriller. It’s a cheap exploitation of the horrors of alcoholism, depression, and domestic abuse that thinks it’s much smarter and artsier than it is.

Masterminds stars some of the funniest names in comedy. Kristen Wiig. Kate McKinnon. Zach Galifianakis. Jason Sudeikis. Leslie Jones. Too bad the movie isn’t funny.

It shirks the typical Disney model of an untouchable, picturesque fantasy by telling a more grounded, human story coursing with love and earnestness.