Matt Singer

While this movie may not reach the heights of Pixar’s finest achievements, it certainly stands as not only the best Cars, but the most mature one as well.

The nonsensical story would matter less if The Mummy would get out of Cruise’s way and let him do what he does best. Instead, it buries him beneath punishing dialogue scenes and surrounds him with unconvincing and unoriginal special effects.

Wonder Woman is exciting, romantic, funny — and my favorite DC Extended Universe movie to date. With her courage and strength, Diana sets an example for everyone she meets, and she holds fast to her ideals even under great pressure. With any luck, she’ll provide similar inspiration to the directors of the DC Extended Universe in the years ahead.

Baywatch’s comedy (credited to six different writers) is second-rate and its action is even worse, with special effects that rank among the absolute worst I’ve seen in a big summer movie in many years.

Dead Men Tell No Tales is the sort of sequel that’s so bad it makes you retroactively wonder why you liked the original film so much in the first place.

The reason to look past the movie’s issues is Fassbender.

A bloated action movie with occasional breaks in the monotony. It’s Perfectly Fine™; entirely competent but unexceptional in just about every way.

The characters and their relationships are strong and the dialogue is sharp, but the whole thing feels like a minor installment in an ongoing series.

Even though Walker is still present, his absence is already felt. It is strange to watch a movie that is this much fun and this sad all at the same time.

Its unhurried pacing, complex themes, and magnificent visuals that must be seen on a big screen make it feel like an artifact from an era of big-budget filmmaking that has been rendered essentially extinct by the franchisification of Hollywood.

McGrath and screenwriter Michael McCullers are too preoccupied piling on chase and action scenes to exploit their title’s potential to its fullest.

Life jolts audiences with relentless ferocity, but it’s not interesting.

This is a creature feature, plain and simple — and, at least on a visceral level, a satisfying one.

It’s a mature consideration of the ideas underpinning its comic-book motifs. It’s also easily the best Wolverine movie of the three, and an impressive sendoff for Jackman’s version of the character.

Fifty Shades Darker is a very faithful sequel; a milquetoast continuation of a bland romance between two boring people.

Like The LEGO Movie before it, The LEGO Batman Movie is far more entertaining than a giant piece of crass commercialism has any right to be.

It does what all great horror movies do: turn real-world anxieties into the stuff of nightmares.

This is one of those stories when reality was stranger, and more entertaining, than fiction.

The crime story, involving the hunt for the men who murdered this girl, is strictly by-the-numbers (and there are a few clue that still don’t fit together in my mind) but Sheridan proves himself a surprisingly effective director of action.

On paper, The Little Hours sounds like a combative anti-religious tract, but Baena’s less interested in mocking the church than in basking in the gulf between humanity’s lofty aspirations and its baser instincts.

This film disturbed me way more than most conventional horror movies, because Lowery understands that the really frightening part of any haunted house tale isn’t the ghost or the demon or the everyday objects moving of their own accord. It’s the reminder that death is coming for us all, whether we’re ready for it or not.

The film is almost as messy as its characters’ love lives, and the early scenes, which take a long time establishing the various subplots, play less like a dramedy than a comedy that could have used more jokes. But the movie gets more earnest and impassioned (not to mention better) as it goes along.

The film works effectively on its own terms as a new variation on a timeless subgenre, and as a warning to people who share their lives freely online.

One of the best things about The Big Sick is that the obstacles facing this relationship are real and relatable. It’s a funny movie, but it’s about really serious stuff.

Live by Night is a very mixed bag: Earnest, handsome, even passionate — and also slow, digressive, and a little bland.

With his mastery of composition, editing, and music, Scorsese has made some of the most engaging movies in history, experiences that express fascinating ideas through gripping stories, compelling characters, and unparalleled craft. Here, all of those elements seem sublimated to the larger points Scorsese wants to make.

Assassin’s Creed makes you actively work for its pleasures, and it’s heartening to see a film of this scale that’s strange and ambitious and doesn’t spoon-feed viewers every little detail.

So many of the decisions by director David Frankel and writer Allan Loeb make absolutely no sense.