Matt Donato

The First Purge doubles-down on bloody opposition against true-to-life societal fears, but abandons the subtlety needed to prevent Gerard McMurray’s prequel from becoming anything more than hateful retribution.

Ant-Man And The Wasp is the kind of playtime entertainment suited for Scott Lang's better-when-on-a-team personality, loaded with size-shifty sight gags and lower stakes worth Paul Rudd's ensemble stardom.

Jurassic World: Fallen Kingdom is boggled insanity of the highest and most enthralling sci-fi order. As exciting and wondrous a summer blockbuster audiences could ask for. You must suspend reality (EVEN FURTHER) and enter a world where dinosaurs have existed for years in order to attain circumstantial nirvana, but if done correctly, an absolute wealth of ceremonious riches await

How does a movie about the galaxy's most dashingly roguish outlaw end up being the safest Star Wars to date?

Deadpool 2 is an overstuffed cinematic burrito of raunchy insults, dismembering violence and a "no f#*ks given" attitude that's ready to burst at any second, but somehow holds together bite after enjoyable bite.

Avengers: Infinity War cares a bit too much about being "Part 1" and holding enough development for "Part 2," but MCU fans should see their 10-year buildup expectations met - not exceeded, but met.

Wildling may swerve last-minute into a less dense finale, but Bel Powley's performance is worth this fierce and untamed coming-of-self arc that's so exquisitely female-centered.

Blue My Mind is a provocative Swiss origin story about sex, drugs and trials no person can possibly be prepared for. Whether Mia’s transformation is true or a ruse, the proposition of underwater DNA is only bested by Lisa Brühlmann’s execution.

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.

Never does Soderbergh’s projection strike me as B-movieness or popcorn entertainment. His mix of arthouse iPhone Hollywood and downplayed character accentuation (by way of misrepresented screen shrinkage) makes for a thriller that fails to spike excitement via a villain who’s always right where he has to be.

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.

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

Ready Player One isn’t slick enough a commentary worth getting riled up about or distracting enough to hide glaring structural issues underneath a barrage of “HEY I KNOW THEM!” cameos like dangling keys in front of a dog.

Blockers sells itself as a parents-first warpath comedy, but the true treat here is watching a trio of young women navigate sex-comedy narratives that boys have dominated for far too long.

Us And Them might be a little slighter than expected, but Jack Roth's charismatic fire-starter has enough anarchistic anger to appreciate.

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.

The Strangers: Prey At Night is a feature-length homage to Carpenter's best, and albeit familiar in structure, Johannes Roberts' execution strikes with brute ferocity.

Quite simply, it’s impossible to “enjoy” a film that makes you feel even worse about the society we live in – especially when it’s so gobsmackingly unaware itself.

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.

The Ritual may start on familiar footing, but trust in David Bruckner's ability to summon some nasty tension and a third act that horror fans will be talking about all year.

The Cloverfield Paradox is a monster-sized misfire that feels disconnected from the franchise it’s crashing.

Winchester is a familiar haunted house shuffle about an infinitely more interesting topic, but you must play with the hand you're dealt - win, lose or draw.

No ifs, ands or Bubs about it, the memory of Day Of The Dead: Bloodline will decay at lightning speed. There’s nothing new here that Romero didn’t do better, only a downgraded horror watch with lesser value.

Before I Wake is a beautiful, meditative ghost story with one of the more rewarding horror payoffs I’ve seen in years.

This year's Inside remake swaps Bustillo and Maury's brutalization levels for beyond-generic thrills that are more frustrating than fierce - whatever that's worth.

Dear Joe Lynch, please let me see your Director’s Cut ASAP? Knights Of Badassdom is an unfinished product, but it passes based on the content our director was able to salvage.

Though not a terrible film, Insidious: The Last Key fails to live up to the franchise's high standards.

Jumanji: Welcome To The Jungle is both a fulfilling reinvention and adventurous video game quest that’s far funnier, and unexpectedly exciting, than you could hope for from an evolved reboot with explosive fantasy character.