Mike Ryan

What’s important in The Last Jedi is what happens to, and what we find out about, all of these characters along the way. In retrospect, The Force Awakens feels like a short introduction to these characters. After The Last Jedi, I feel like I’ve gone on a week-long road trip with them all.

There’s a humanity in Gosling’s K we haven’t quite seen before in this world of frowning people and weirdos. And it’s those little, subtle inflections that makes Blade Runner 2049 a success.

The relationship between Carell, Fishburne, and Cranston feels genuine. It’s weird, they really don’t click at first – like, I suspect, a lot of people wouldn’t after having not seen each other in 30 some years – but by the end these three very different people have a bond. And it culminates with a pretty heartbreaking scene.

You should see Lady Bird...and, when you do, savor its delightfulness because this is a tougher and tougher commodity to find.

Thor: Ragnarok is by far the most unusual of the Marvel movies – a crazy, colorful, ambitious, hilarious ride through the cosmos – even surpassing the Guardians of the Galaxy movies as the former holder of that title. And it’s by far the funniest.

What Dee Rees has done here is remarkable. The themes of racial injustice alone would make this movie “important,” but what she’s done with her film makes it an epic.

I am legitimately bummed out about how much I disliked Justice League.

Call Me By Your Name is a triumph of humanity.

Monsters and Men is at the once depressing and hopeful. And for the life of me, I can’t believe Reinaldo Marcus Green had the guts to make this.

No matter how bizarre Sorry to Bother You becomes (and it goes in some very strange directions), it doesn’t entirely lose its focus.