Matt Donato

With tighter scripting, this’d be a masterpiece. As is? Christopher Nolan has produced a damn-fine picture that goes against most of what his catalog has become renowned for in a good, streamlined way.

Delightful, inventive and deeply affecting, Inside Out embodies the very best of what Pixar has to offer.

Star Wars: The Last Jedi is striking, stunning, visually hypnotizing, thrilling - everything "epic" about the famed franchise rolled into a tremendously overcharged start to Rian Johnson's Star Wars career.

It's hard not to anticipate many of Verhoeven's moves, but Isabella Huppert is too good to ignore in Elle.

Some films thrive on twists, while others compel based on meaty performances. Volpe’s picture is squarely the latter: an introspective analysis of the human condition.

Black Panther proves how representation can rejuvenate even the oldest superhero origin arcs, allowing Marvel a victory that still feels every bit a Ryan Coogler film.

Mission: Impossible - Fallout is cocked, locked and ready to blow you away with more than just Henry Cavill's forearms.

Prepare to be turned-ghost pale by horrors of the mind, body and soul, unlike you’ve experienced in quite some time.

Spider-Man: Into The Spider-Verse is a celebration of limitless creativity that honors comic book runs of the same freeing mentality.

This is a movie about life. Bigger than love. Bigger than hope. Bigger than anything. Just life, and all its attempts to wear you down – and how you’ll never let it.

Baby Driver proves why we should never doubt Edgar Wright's vision, because few filmmakers can back their ambition with such quality thrills.

Get Out marries racial satire with a terrifying finale, one that tears down blinders that some may have kept conveniently in place. Don’t listen to those who say horror movies are defined by physical scares. Plots based on real-life fears typically make for the most horrifying scenarios.

A unique cherry blossom of a period piece finds its roots intertwined with an erotically-charged crime, set to shock and entrance viewers unaware of the free-spirited madness to follow. A cultural appropriation of submission, the male gaze and gender dominance, stretched until storytelling fabrics just begin to tear.

The Lure is powerful enough to cast an obsessive spell on anyone watching.

A Ghost Story leads you down a path that allows for personal reflection, which will either sooth lost souls or scare them away.

Under The Shadow marries haunted horrors with period-piece importance for a deliciously dark ghost story.

It's a melting pot of experiences from comical to romantic to thrilling to richly ruminative. Everything flows together gracefully in step through a delicate and beautiful dance that speaks to the ever-changing beast that is New York City.

The Love Witch is a seductive 60s time-capsule that calls back to the technicolor charms of early genre filmmaking.

It's a hilarious low-low-budget, rough-around-the-edges oddity that makes me very happy, and I hope someday it'll make you feel the same crisp beaver-beatin' joy.

While War for the Planet of the Apes's third act is a bit hairy, the sequel helps cement the franchise as one of the more exciting mainstream properties worth watching.

This is an irreplicable experience that speaks volumes about following your dreams despite the challenges that await. The reward will always be worthwhile, even if it’s just about the friends you make and NPC cops you massacre along the way.

John Krasinski orchestrates a loud and ferocious symphony of sonic scares that will assert A Quiet Place as one of the year's most terrorizing films.

Bell and Allen employ big ambitions in a confined area, treating stranger-danger paranoias with an elevated supernatural presentation that’s frightening—maybe a bit overlong—but undeniably effective.

Arrival challenges viewers to a brainier sci-fi conundrum than they're used to, which makes for an intellectual breath of fresh air.

This is a masterpiece of woven ancestral roots and the importance of “familia,” confident in song and poetic in vision.

Jackie is Natalie Portman's show, and she never wastes an opportunity to dazzle as JFK's glamorous grieving widow.

Us is an impressive and astonishingly hair-triggered sophomore feature squarely positioned to decimate genre audiences. It’s purposefully vague, but jam-packed with more memorable genre imagery and inquisitive discussion starters than most braindead by-the-book cinematic offerings beholden to formulaic blueprints.

Belktibia's feature debut comes with compelling sequences as a mother fights against what seems like the entire world, but murky motivations hold one back from getting fully emotionally invested.

Visually, Moana shines like a diamond at night.

Lowlife is a dirt-nasty nonlinear debut for Ryan Prows, sewn together from vengeful, spite-driven tales of urban survival.

Amy Seimetz plays by her own rules like this is the last film she’ll ever make (it won’t be, no shot). She Dies Tomorrow ponders self-fulfillment with agency and riveting execution. Seimetz’s fearlessness is what sells every ounce of this uncontrollable narrative’s every zig and zag. From tone to philosophy to composition, this is Seimetz’s soul on celluloid.

Obsession should and will put Barker on the map as a horror filmmaker you need to watch. Thanks to fantastic turns by Michael Johnston and Inde Navarrette, you'll be addicted to this sour Valentine's Day counterprogramming.

The horrors of childbirth become entangled in a demonic subplot as Huesera fits neatly into the list of chilling pregnancy horror tales, but doesn’t add much new to it.

Ti West is back with a violent vengeance, slicing and dicing through likable characters that light up the screen throughout their doomed and debaucherous overnight shoot. West is operating on another level — even the slightest editing cut cranks fear factors another notch higher.

Good Time is just that and little more, but Robert Pattinson's performance deserves praise like "career-defining" and "best yet."

Keeping Up With The Jonses plays everything so disappointingly safe.

Writer/director Jang Jae-hyun’s Exhuma bobs and weaves in ways American exorcism stories couldn’t fathom.

The Endless is a masterful cinematic echo chamber with incomprehensible depth. You will feel, laugh and be forced to address emotions shared with all on-screen personalities.

Linoleum is a heartfelt story about making every day seem like something fantastic.

It’s broody and disciplined, soaked in the pungent style of foreign auteurs who molded Scorsese’s own love of film – yet overburdened by a downward spiral lacking fire and unforgiving features.

Fences is old-school Americana that's driven by dynamite performances all around, albeit a bit stuffy in nature.

The pace of this gorgeously shot Norwegian pseudo-fable will be a roadblock for some, but give Vogt a chance. Storytelling rewards are bountiful once The Innocents executes its conflicts well above the expected maturities of players on screen.

Speak No Evil is a worthwhile test of wills that’s sure to dampen anyone’s day with a superbly excruciating tale of monsters in civilian clothing.

Top Gun: Maverick is an out-of-bounds blast of afterburner fumes and thrillseeker highs that's sure to please audiences looking for a classic summer blockbuster.

Fifty Shades Darker is a befuddling, messy erotic "thriller" that shifts tones faster than audiences can keep up with.

If you believe horror shines blackest when hardest to decipher, 2017’s horror crop may never best this effort. For me, it’s a Mortal Kombat finisher that punches through your ribcage with heart-in-hand – but the fight itself is a bit too talkative.

There’s something of an it-factor that Saloum possesses, though it doesn’t have the steadiest handling of entertaining distractions that relieve major plotlines along the way. Still, the way of the gun wins out for Herbulot, putting Senegalese horror hybrids on the map.

Barbarian is one of the wildest horror films in years from its combination of subgenres to full-throttle approach to unapologetic exploitation themes.

It’s artistic, ravenous, and boundless in a way that honors the spirits of the New French Extremity movement. MadS is the kind of horror experience that feels like you’re new to the genre again — and oh what a glorious feeling that is.

If your script is good enough to pull Steven Soderbergh from “retirement,” color me intrigued. Such is true of Logan Lucky. An Ocean’s 7-11 hootenanny with Southern charm and Coen sensibilities.

The Covenant isn’t Guy Ritchie’s best, but standout performances from Jake Gyllenhaal and Dar Salim as bonded heroes save an otherwise bloated military thriller.

Better Man is in a category of successful biopic dramatizations all unto itself.

Win It All is another Swanberg special that hits upon the most human aspects of a gambler's curse, so perfect for Jake Johnson's leading take.

Evolution is undeniably beautiful, but it's a small-scale story which ignores a larger world that needs far more exploration.

The Beguiled is a deliciously dangerous period thriller that refuses to let a man's privilege go unchecked like the Hollywood standard.

Detroit is, for lack of a better term, a pornographic echo chamber of resentment. Trying to put out a fire with ten more tankers full of gasoline.

Your toleration of mother! will be determined by movie-going patience. Aronofsky is painting with some blistering broad strokes, but they’re just that – broad and undefined.

The Edge Of Seventeen boasts an emotional journey filled with wit, humor and heart, resting easy on the back of Hailee Steinfeld's dynamite performance.

It’s not just one of the best superhero movies ever – it’s a damn-fine cinematic representation of the human condition in all its agonizing forms.

The Disaster artist is obscurest hilarity set to a filmmaker's struggle, all linked to James Franco's transformative performance as the mythical Tommy Wiseau.

Guardians Of The Galaxy is everything we go to the movies for, as Gunn is able to build an intricate intergalactic world full of multiple races, lush scenery, and maximum escapism through action, romance, comedy, and interstellar drama.

Area 51 is everything that's wrong with not only found footage films, but also weak-minded sci-fi thrillers that think crazed talking heads and fuzzy shadows are scary enough.

A Monster Calls gets off to a rocky start, but once Neeson's talking tree starts spouting tales of wisdom, everything tightens as the tears start flowing.

Wonder Woman is a gorgeous, powerful display of epic storytelling that makes me wish this was Gadot’s first chance to play Diana Prince. It’s the roaring introduction she deserves, and a hopeful shift in DC culture that hints at what’s about to come.

Sisu: Road to Revenge offers a ludicrous and punishing take on the same fantastic action-forward indulgence as the original, resulting in a sublime outcome. Writer-director Jalmari Helander's brand of excitement is loud, resilient, and pushes breakneck intensity to the maximum.

While West’s sleazy ‘70s slasher remains one of my champion horror titles of 2022, Pearl is more like giddily deranged add-on downloadable content that makes for an unexpected bite-sized treat. Kudos to the accomplishment, and it’s an ax-swinging slice of bad-vibes hoedown kookiness, but there’s a particular substance missing that X oozes.

My Dead Friend Zoe opens wounds and douses them in peroxide — the immediate sensation stings, but eventually cleanses and soothes.

I Don't Feel At Home In This World Anymore is a winning combination of anger, frustration and stinging social satire.

A Wounded Fawn is an artfully chaotic descent into bloodlust, monstrous misogyny, and euphoric comeuppances of the most punishing pleasures.

Beauty And The Beast lacks some of the astonishing visual prowess of previous Disney live-action remakes, but still sings and dances with enjoyable style.

John Wick: Chapter 2 tempts fate with a 122-minute running time, but the "Gun Fu" is back and it's just as deathly awesome as it was in the first film.

Garland may have just delivered one of the most vicious and unrelenting watches of the year, one that I’ll keep debating and untangling both in my head and with others for a good long while.

Blindspotting is a force to be reckoned with in terms of experience, anger and boiled frustrations that beg anyone watching to lead the charge for change.

Where Josh Ruben’s Scare Me soars thanks to tension delivered through imaginative monologues, LaBute’s latest is mostly benign chatter that rambles its way to an unimpressively expected conclusion.

Debuts shouldn’t be this tense or composed, yet Super Dark Times is an instantaneous must-see.

When Evil Lurks is a capital “H” horror film that risks it all and hits the jackpot, pummeling its audience into submissions and still leaving us asking for more.

The Bob’s Burgers Movie is a family recipe that warms the heart, griddle and soul.

When it counts, The LEGO Batman Movie delivers everything you’d want from such a farcical superhero creation.

Okja is a wild, tender tale of wonderment and friendship, delightful but still with smacks of vile consumerism darkness.

Thelma doesn't exactly tell a unique story, but Joachim Trier's vision is so strong you'll barely even notice.

Little Sister is a spunky family drama that does "indie" right.

Kurt Wimmer’s newfangled Children of the Corn is a rotten husk of a Stephen King adaptation.

The problem is that 40 Acres simply sprinkles its few unique ideas atop a shambling post-apocalyptic template.

Dream Scenario is a sprawling dissection of subconscious desires and how marketable popularity spells doom for its subjects, showcasing Borgli's flexible originality without sacrificing emotional investment.

Kill is a near-perfect action thriller that's stuck in overdrive.

This is a very funny, perfectly scored...exciting, albeit overlong exercise in pushing MCU boundaries to their franchise breaking point.

Most Beautiful Island summons viewers into its seductive web, lashing out with teeth-grinding tension when you least expect it.

Queen Of Katwe is pretty typical Disney magic, but dynamic performances add a little more oomph to Phiona Mutesi's amazing true story.

Directorial debuts are rarely this poised, devastating or dangerous.

Its methods may be unconventional, but Joel Potrykus never loses grip of the slippery strangeness.

Air is an underdog crowd-pleaser with a standout ensemble cast sharpened to a point. As both director and co-star, Ben Affleck finds a balance between comedy and explanation that remains accessible to all audiences.

John Wick: Chapter 3 – Parabellum is a gunsmoke hazy, bloody-knuckle ruthless, impossibly badass Wickian continuation.

The Platform is a multi-tiered assembly of tension, terror and terrible imaginings that, in cake form, would be worth centerpiece window placement in any professional pâtisserie.

It walks a tightrope with its topics, but Williams is delicate and confident with every step — his performers following close behind, dominating the screen.

Mileage will vary, dictated by your appreciation for methodical avalanches of sorrow driven by puritanical pressures. Everything is minimalistic, punctuated by the devastating context found in the research that helped shape Franz and Fiala’s screenplay. Some viewers will recognize dedication, others will have their patience tested.

What Lowe accomplished in only her second full-length feature in roughly eight years shows such promise as a daring filmmaker with an original voice that deserves a megaphone, and I can only hope it doesn't take eight more to see what comes next.

See this movie, live the fear, embrace the metal, and get sucked into a flaming, invigorating landscape of Hell that will cripple any horror-loving parent.

Nanny seeps into your pores, stings like salt in a throbbing wound and doesn’t require what some horror fans might—conversely—wish appeared.