Peter Travers

Director Kenya Barris disastrously trades cutting social satire for romcom pablum when a Jewish podcaster (Jonah Hill) and his a Black fiancé (Lauren London) find their love imploding after her dad (Eddie Murphy) and his mom (Julia Louis-Dreyfus) plan a wedding across racial battle lines

A riveting Anna Kendrick brings her own experience with a psychologically abusive relationship to this tale of a young woman who learns to stand her non-violent ground against a male predator through female friendship. The result is quietly devastating.

Hugh Jackman acts his heart out as a parent unable to cope with his clinically depressed son, but even he can’t save this poor relation to The Father from descending into two hours of misery porn.

As always, Tom Hanks is in there pitching, but this time it’s mostly softballs. The cliched plot about a reformed grumpy old man is so obvious you can see it from outer space.

Christian Bale tries to solve a murder at West Point, circa 1830, with the help of young cadet Edgar Allen Poe (Harry Melling). But what should be a gothic mesmerizer ends up a dreary exercise to doom and gloom that’s an endurance test for audiences.

Move over Chucky, here’s the killer robot doll thriller we’ve been waiting for. This jolt of fun and fright stars a sensational Allison Wllliams as the inventor of a babysitting robot who takes her job to the homicidal hilt. The first banger hit of 2023 is right here.

Noah Baumbach thonors Don DeLillo’s virtuoso 1985 novel about the comic-absurdist chaos of consumerism with a too cautious respect. The result is his most constricted film which only breaks free when he allows costars Adam Driver and Greta Gerwig to fly on their own wings.

A dynamite Naomi Ackie acts and lip-synchs her heart out as the legendary songbird, but Whitney deserved a much better movie than this patchwork, cobbled-together biopic that barely skims the professional highs and personal lows that made up her tragically short life.

Here’s the blast of wicked fun we need right now, using song and dance to enhance Dahl’s timeless tale of naughty children vs uncaring adults distilled in the war between bookish Matilda (Alisha Weir is a one-girl talent explosion) and Emma Thompson’s headmistress from hell.

There's about an hour of terrific movie in this love-hate look at lurid Old Hollywood. Too bad it’s trapped in three hours plus of self-indulgent bloat. Even the starshine of Margot Robbie and Brad Pitt dims as director Damien Chazelle rabidly bites the hand that feeds him.

Bill Nighy delivers a master class in acting as a stifled bureaucrat Brit who decides to seize the day before it's too late. Working in miniature to achieve major truths, this deeply human drama has the power to sneak up and knock you sideways.

Weigh the flimsy story against the eye-popping, jaw-dropping, shoot-the-works visuals that fill the screen to bursting and the choice is clear: James Cameron’s 3-D sequel to his biggest hit is the ultimate in-theater thrill ride. You’ve never seen anything like it in your life.

After the infamous slap that sidelined his career, Will Smith returns as a runaway slave in a sorry but noble misfire that offers the disgraced actor pitifully few chances to bring dimension to a real-life character the script traps in a swamp of misery-porn cliches.

Brendan Fraser is on the march to Oscar. That's how astonishing his acting is as a morbidly obese recluse in this deeply moving character study. Accusations that wearing a fatsuit diminishes his tour de force performances are nonsense. This is essential viewin

A love story about two pretty young cannibals won’t strike everyone as an appetizing dish. But you won’t be able to take your eyes off Timothée Chalamet and Taylor Russell as they try to reconcile romance with killer impulses on a road trip through hell.

So what if it’s talky. Writer-director Sarah Polley’s vital film gathers together eight women—acted with heat and heart by a miraculous cast—to debate what to do about male sexual predators. Doing nothing is not an option in this unique and unforgettable landmark in the making.

You’ve never seen a Pinocchio like this one, a funny, touching and vital masterpiece from del Toro that uses stop-motion animation to create a world of beauty and terror to get lost in. The Oscar for best animated feature belongs right here.

Let’s give thanks for this wicked, whacked-out whodunit sequel. Daniel Craig is back as southern-fried detective Benoit Blanc and all is right with the world as a cast of merry pranksters (yay Janelle Monae) turns murder most foul into comic gold.

Foodie culture gets hilariously torched as a celebrity chef, acted to pretentious perfection by Ralph Fiennes, holds his customers, except for a deliciously defiant Anya Taylor-Joy, to the fire at his restaurant from hell. It’s all delectably unhinged.

Despite some pokey pacing, the fierce human drama of how two female reporters, superbly acted by Carey Mulligan and Zoe Kazan, persuaded women to go on the record about being sexually harassed by producer Harvey Weinstein is the year's most gripping detective story.

Bring out the Oscars for the year’s best movie, a personal best from Steven Spielberg about his own coming of age as a teen torn between his love for movies and family (Michelle Williams is incandescent as his troubled mom). You won’t forget this hilarious and heartfelt classic in the making.

It can’t top the original and the absence of the late Chadwick Boseman hurts real bad, but Ryan Coogler’s sequel proves to be more than cringey franchise building by putting women of color in charge (yay to Angela Bassett and Letitia Wright) and watching them fly.

Cheers to Scotland’s Charlotte Wells for making the best movie of the year by a first-time writer-director. And cheers to Paul Mescal and young Frankie Corio for bringing this heartfelt father-daughter story to such funny, touching and vital life.

Danielle Deadwyler gives the breakout performance of the year as an activist mother who used the 1955 lynching of her son Emmett Till (Jalyn Hall) to galvanize the civil-rights movement. Director Chinonye Chukwu crafts this emotional powerhouse into essential viewing.

In a valiant effort to bring back the romcom, George Clooney and Julia Roberts sprinkle their stardust on a stale storyline that Rock Hudson and Doris Day might have found retro in the last century. Their hearts are in it, though, and that’s something.

Question for Dwayne "The Rock" Johnson: What happened, dude? How did your passion project playing a Black DCEU posterboy for anger management become a humorless, chaotic bummer that leaves you holding the bag for an epic failure to launch?

Ignited by career-best performances from Farrell and Gleason, this new classic from son of Ireland Martin McDonagh brims over with dark comic magic and jolts of bloody scary hell. Fasten your seatbelts for a spellbinder that stands high with the best movies of the year.

After 44 years Jamie Lee Curtis bows out of her iconic role with slashing feminist fire, but if you believe blood-lusting Michael Myers is really hanging up his mask in this divisive scam of a Halloween ending then you don’t know how greed powers Hollywood’s gift for resurrection.