Matt Donato

Wish Upon is a Final Destination redux that pulls too many punches.

The Loner is a hyper-surreal tale of neo-noir revenge, boasting Middle-Eastern influences that unlock new aspects of an age-old genre.

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

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

The Rehearsal is much like any coming-of-age melodrama, and while its meat is a little overdone, its intro and finale bookends do make up for a lack of flavor in between.

Despicable Me 3 hits a supervillain high with Balthazar Bratt, but also a franchise low as far as Gru and Dru's brotherly reunion is concerned.

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.

The Little Hours is saved by Fred Armisen and Kate Miccuci, the only performers who don't suffer from the film's one-note delivery at some point.

The Vatican Tapes relies heavily on its third act, but if you can stomach its more generic beginnings, you'll be treated to an exorcism story with higher stakes than normal.

The Collection is one of those horror films that really makes you sound like a deranged psychopath for recommending, but demands to be spread like a mind-controlling plague.

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.

While The Scribbler isn't exactly in contention with the best that the comic book genre has to offer, Katie Cassidy utilizes the numerous voices in her head to create a unique hero for a bit of stylized freshness.

Grab on for dear life and expect a freakish, wild, and seriously f#cked up ride from start to finish - which, of course, is every horror fan's dream.

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

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.

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

Bay's latest Transformer title is a daunting behemoth of a film and you can feel every ounce of dead weight, as sins of the past are committed without any signs of stopping.

47 Meters Down navigates choppy waters, but ultimately manages to deliver some prime summer-time screams.

Rough Night is a seriously funny movie led by some seriously funny ladies, but even more impressive is a mainstream comedy that relies not on cheap shocks like many who have come before.

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.

This isn’t a new breed of terror, just another neutered reboot churning all the same mainstream gears.

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.

You’ll find laughs, zaniness and plenty of signature slow-motion jiggling, but it’s buried under a burdensome two-hour procedural.

Michôd’s military dramedy is more about press tours, TV interviews and power plays. That’s what makes this Netflix new release redeeming in its political poignancy – but having Brad Pitt doesn’t hurt.

Dead men may tell no tales, but with Disney's latest Pirates sequel, I'm not convinced that living men can tell tales with any more intrigue.

Martyrs is the exact movie we feared it'd be - a forgettable remake of a far more prolific foreign success story.

While Snatched stars big names in Schumer and Hawn, the ones you'll be remembering are Cusack, Meloni and Barinholtz.

Aaron Taylor-Johnson deserves more credit as an actor, because he's the only reason this Iraq War thriller hobbles steadily on two legs.