E. Oliver Whitney

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

Southside With You’s greatest assets are its performances.

At its heart, Florence Foster Jenkins is about a woman at her most unabashedly genuine, and there’s something admirable about that.

The biggest strength of Zootopia is in how it acknowledges all identities are capable of carrying prejudice and wielding judgement, yet the first step toward change is awareness.

Its sheer over-the-top excess and lack of taking itself too seriously allow it to become a delightful, exhilarating concoction of its many pieces, and much more accessible and entertaining than the dizzying cinéma vérité of its parent movie.

It’s both an accomplishment in introspective, transcendent filmmaking, and a puzzle as imbalanced as the knight at its center. We may not quite be able to understand it, but Knight of Cups certainly feels like a work of a great talent who’s still figuring out what he’s trying to say.

Green serves up everything we love about the first Halloween, completely playing off our nostalgia for the slasher classic, and to me, that’s not necessarily a bad thing.

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.

Pure and simple, Catfight is a total blast.

The new sequel/prequel, Mamma Mia! Here We Go Again – which has perhaps the best sequel subtitle of all time – is only half as fun as the first movie, replacing familiar faces with lesser known ones in a story we already know. But thanks to the returning cast and a showstopping Cher performance, there’s enough zany delights to forgive the snoozier bits.

Borg/McEnroe isn’t a complete misfire, just more of a missed opportunity. Metz’s artful direction, the taut final match and LaBeouf’s rage-fueled antics are worth the ticket price alone. But it leaves you wondering how fantastic a full-on LaBeouf-McEnroe biopic could’ve been.

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 real treasure of A United Kingdom is the tender chemistry between Oyelowo and Pike, whose scenes together offer the film’s best moments.

Morris From America is a sweet movie, but it doesn’t take us anywhere new. Its sincerity is admirable, but if Hartigan had dug a little deeper he could’ve captured something distinct and special.

It might not be remembered in years to come, but it’s good family entertainment, and sometimes that’s enough.

Wadlow manages to ratchet up the tension in the most clever set pieces, the best of which involves a bottle of vodka and a rooftop. It’s also the type of shlocky horror movie you want to watch with a big audience, and, dare I say, one that is especially fun, and funny, with a chatty crowd. This movie is too stupid not to laugh at.

Don’t get me wrong, the Hugh Jackman-led P.T. Barnum circus musical is a bad movie, but one that’s just enjoyably bad enough to keep you entertained. If you loathe musicals, this definitely ain’t for you. But if you indulge in gaudy show tunes, and can relinquish all desire for a logical plot and developed characters, then, in the melodically whispered words of Hugh Jackman, The Greatest Showman is everything you ever want, it’s everything you ever need, it’s where you want to be.

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.

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.

Love it, hate it, or stuck somewhere in between, it’s something you simply need to see to believe.

Nocturnal Animals doesn’t have much substance, but its dazzling style is hard to completely resist.

It may not be as poignant a story as its characters give way to, nor reach the cathartic resolutions it builds towards, but The Family Fang is still a refreshingly creative approach to the family drama.

There may be plenty of charming, classic Pooh-isms sprinkled throughout Christopher Robin, but the film just can’t manage to bring the same level of poignance and wisdom to its own story.

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

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.

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.

It isn’t the charged biopic that a story as fascinating as Seal’s deserves, but it has enough rambunctious delights to get by.