Matt Donato

Song To Song is one of the more accessible Malick films as of late, succeeding largely in part thanks to a cast who plays their dramatic beats like poetry in motion.

Don't Kill It is some DIY insanity that leaves more scattered limbs than an overturned Halloween decoration truck.

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.

Before I Fall makes a simple plot into this convoluted, aggravating mess of emotional turmoil that lacks a shocking amount of direction.

Kong: Skull Island is a grand cinematic adventure powered by furry fury, as the horrors of war blend with chest-beating creature confidence.

Here Alone is a sometimes-striking, sometimes-repetitive glimpse into apocalyptic drama that struggles to offer anything new.

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

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.

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 Great Wall is like the disaster of 47 Ronin all over again, except the action is a bit more fantastically barbaric and Damon isn't all that bad himself.

Fist Fight suffocates a genuine script with easy, intro-level juvenility.

XX is a mundane horror anthology at best, and a slow-burn experience that never reaches a boil at its worst.

It's a shame Silent Hill: Revelation suffers the same doomed fate as most modern horror movies, bumbling through a shockingly disconnected screenplay which strings together moments that could have been salvaged otherwise.

This is one sluggish curse that wouldn't wake even Sleeping Beauty.

Like a flashlight that's running low on juice, you can feel the life oozing out of Nightlight with every faint flicker.

Pandemic certainly won't spark a nationwide outbreak, but it's a sleek enough take on infection thrillers that's worth one good late-night watch.

It’s not that Soisson created a terrible movie, but Cam2Cam is late to the party, brings absolutely nothing notable, and sits in the corner without making a peep.

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

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.

In its braggadocios final form, genre fans have a unicorn watch that surely won’t be replicated anytime soon. Points for creativity, points for ambition, and points for a studio showing the balls to back provocative genre cinema.

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

Categorizing Rings as "horror" would be a disservice to genre films, because at least the lowest of the low attempt a scare here or there.

As punishing as it is grotesquely poetic, Headshot is a healthy dose of breathtaking brutality that makes you hold on for dear life.

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

Sing runs on some serious super-piggy performance power, even if the emotional notes are expected.

The Space Between Us is not without bright spots (celestial production design dazzles, Butterfield’s niceties are refreshing in today’s day and age), but it’s ultimately more a slog than serendipitous romance.

War On Everyone is a pitch-black, nihilistic riot, like a pissed-off teenager spinning atop a mountain with two outstretched middle fingers pointing in every direction.

Resident Evil: The Final Chapter proves that there's nothing left in the tank of this grossly nondescript zombie-shootin' franchise.