Katie Walsh

Streep once again unnecessarily proves she’s the best in the business with her performance, delivering more in a single quiet line delivery than most actors can achieve.

It’s his own words, and confronting them now, having lost many of his friends to spats and fights, brings Crosby to his most vulnerable place.

It can be a rare occurrence to find a kid-friendly animated film these days that actually surprises and delights. Dreamworks' Abominable, written and co-directed by Jill Culton, does indeed surprise and delight, all while following a familiar hero's journey tale that borrows from favorite friendly creature films.

Talk To Me isn’t just a splashy debut for the Philippou brothers, who prove their filmmaking chops in making the leap from the small screen to the big. It’s also an incredible introduction to a remarkable actress in a role that will undoubtedly prove to be an instant classic horror movie heroine.

Reynolds and Mendelsohn could not be more different actors, but in this pairing they are perfect.

Cregger slowly builds bone-chilling and suspenseful sequences up to screechingly operatic moments of face-melting horror, and then swiftly cuts to a different chapter, making a hard left into a completely different mode, taking us all on the roller-coaster ride. His facility with comedy also aids in these jarring tone switches, and Barbarian is as funny as it is terrifying.

Although The Fight is swift and jam-packed with ups, downs, wins, losses, injunctions, stays, hearings and Trump speeches, the film is remarkably detailed and careful.

It’s an exhilarating cinematic experience, whether you’re an Elvis fan or not — but Luhrmann makes sure you are by the end.

The film is shockingly violent and bloody, but there are also profoundly poetic moments and images that pop up like wildflowers in a field.

The beauty of Lion is that it explores and allows for the unique possibilities and power of multiple homes, multiple families and multiple selves.

Incisive, insightful and very funny.

Pietro Marcello’s sweeping historical Italian epic Martin Eden is a whole lot of movie. It possesses a weight and heft, both cinematically and philosophically, that make it a rare treat. And at the center of the film is a whole lot of movie star: Luca Marinelli’s performance in the title role is an outstanding star turn for the Italian actor.

It is so much more than just melodrama — it is myth-making on a grand yet intimate scale, a film that attempts to express a small sliver of the Von Erich legend, and beautifully does justice to Kevin’s personal journey.

What keeps Hoppers from drifting into Pollyanna-ish sensibility is its charming spikiness, and embrace of the weird, wacky and witty as it unfurls a high-tech action thriller about a strange, if brief, merging of the human and animal worlds.

Coogler has delivered one of the best blockbusters of the year, and that it has a heart and brain behind all the blood-drenched thrills just makes it that much more satisfying.

It is an almost startlingly intimate film, following this strange relationship between these two, as they go through the challenges of life.

Anatomy of a Fall is anchored by the powerfully present Hüller, who bleeds and breathes into the environment, even as she stands out.

The moments between mother and son are some of the most intimate and moving of the film.

In its uncompromising vision, it may not be for everyone, but it’s definitely the movie that Batman needed.

Whipsawing between hope and devastation, Queen & Slim speaks to this specific cultural moment. It's not with a grounded realism, but with an almost operatic sense of melodrama, in the writing, performances and with Matsouka's daring cinematic style, where beauty and politics are inextricably intertwined.

Sophisticated management of tone makes Two of Us rich and nuanced, complex and utterly heartbreaking. Within the folds of the film, simultaneously a love story, thriller and tragedy, nearly anyone can find an anchor, or a wound. It illustrates with devastating clarity what a mess secrets can make, and how one errant, unpredictable thread can unravel any carefully calibrated lie.

What a deliciously demented and disturbing drama Nicolas Pesce's Piercing is, dripping with gore and laden with forbidden innuendo.

Dickinson, who became a heartthrob in movies like “Beach Rats,” “Triangle of Sadness” and “Babygirl,” announces that he’s much more than a pretty face, he’s got something to say, and the message of humanist compassion he delivers in “Urchin” is incredibly powerful.

The tension never lets up and the shocking twists in the story need to be seen to be believed.

At the center, the true general, Prince-Bythewood, marshals every aspect of The Woman King in concert, conducting action, thrills and emotion beautifully. It is a remarkable, powerful film, and not to be missed.

Working with the legends of his long career to operationalize his past, Almodóvar crafts a singularly unique and medium-specific autobiography in which cinema is inextricably linked to his own story, to his heart, soul and body.

Equally enchanting and disturbing in its unique blend of magical and social realism, “Is God Is” is a highly stylish and daring announcement of a new cinematic talent in Harris, who has been allowed to fully express her vision, uncompromising and entirely hers.

Covino’s filmmaking is tremendously appealing, buoyant and playful, and in Splitsville, he dials everything up from The Climb, especially the comedy.