Rodrigo Perez

You may hate All The Money In The World, and you would be well within your rights to feel that way, but there’s no denying that the film is bold and ballsy.

Spielberg ever-so-gently presses on the gas of nostalgic idealism enough times that he blemishes what might have been a pitch-perfect movie.

Ultimately, Thank You For Your Service is commendable and, well, serviceable. But it’s more of an honorable discharge rather than something you fete with medals of esteem.

Through sheer force of filmmaking will and mediation on what it means to be self-aware, Villeneuve’s towering picture still manages to inspires awe and contains profoundly beautiful moments.

In its deeply affecting final moments, where Linklater beautifully folds the movie’s threads and themes, Last Flag Flying coalesces into a poignant portrait of honor, the bonds of brotherhood and coming to terms with mortality.

Ninjago is mildly entertaining, and kids should find it pleasurable enough, but it’s missing that special spark, the kind of joyful flicker that compels children to ask for the movie on DVD at Christmas

Victoria & Abdul is a movie that flirts with exploring prejudice, cultural tension, power, and religion, but never really consummates the ideas. At best, it tries to humorously dismantle the absurdity of empires and royalty, but that’s about as subversive as it gets.

Trier crafts a drama that is sublimely ambiguous, austere and also deeply sad and heartbreaking.

Stronger feels genuine and certainly has the right intentions, but never converts to something truly enlivening.

Delightfully twisted, Thirst Street takes the ideas of desire, romantic longing and desperation — desperation as the world’s worst cologne — and bathes it in a sheen of frosty colors, genuine vulnerability and sardonic unkindness.

Intimate, but never actually involving, The Glass Castle at least has admirable performances to watch.

The Dark Tower is a tepid non-starter from minute one.

Even if the movie is based on an existing property, a beloved French graphic novel, as a producer and designer, Besson should be lauded; ‘Valerian’ is out of this world. But next time, he might want to reread the comic for its characters, checking the little word bubbles to see if there’s actually something there.

Ultimately pleasurable if very disposable, Homecoming offers strong teen dynamics and for once, serves up high school-sized stakes instead of placing the planet in peril.

Brimming with emotional intelligence, the human texture Reeves delivers in Apes separates his film from the rest of the tentpole pack.

The Last Knight is like a Red Bull-charged Bay yelling “I regret nothing!” as he jumps out of a plane backwards with no chute, detonating a megaton nuclear explosive while firing Uzis at his skydiving pals above him because hell, dude, that sounds like a wicked fond farewell. [

The Mummy is a dated, empirically dismal, laughable excuse to kick off a franchise, and it should have remained entombed.

Yes, it’s the DCEU’s best film, but as we know, that’s not saying a lot. But, hey, that terrific second act that we should cling to even if it’s a distant memory by the time love defeats aggression. “Wonder Woman” might be molded by the mighty Gods, but as shaped by mere mortals her mettle and beliefs and can be only so wonderfully divine.

Its insistence on trying to balance wannabe sincerity and earnest actions with laughs is a tonally misconceived idea. Ultimately more forgettable then deplorable, Baywatch isn’t so much a disastrous spill in the ocean as it is disposable garbage making a mess.

With no plot to speak of, a baggy tangent across Europe in the mid-section, and no forward momentum, War Machine soon descends into the quicksand of its own design and never recovers. From there it’s an enervating slog of two hours that invites sleep.

The film is not unlike a classic rock supergroup reuniting to play all the greatest hits, with the payday at the end as the only true motivation, rather than returning with something new to say about their work.

The Boy Downstairs straddles a patchy line between comedy and drama with mixed results, but when all is said and done, the auspicious film acts like a mature consideration of the scariness of vulnerability and laying your heart on the line.

Somehow, Scott manages to balance it all: meditations on being made in god’s own image, the fan service of “Alien Origins: Xenomorphs,” and feminist agency. Balance doesn’t necessarily mean execution though. There’s friction with all these ideas fighting for airtime.

Ultimately, this rueful picture of Heath Ledger is a loving celebration of a passionate spirit and a tribute fittingly seen through the eyes of the artist himself.

Bafflingly witless, The Clapper is an oblivious non-starter with myriad deficiencies. Artless and clueless at every turn, writer/director Dito Montiel’s inane movie is a one-note half-gag somehow stretched into a painful 90-minute movie.

Flower is hilarious one moment, tender the next and takes some surprising turns. And it certainly doesn’t hurt to have a dynamic lead who steadily navigates the twists with an emotional authenticity that keeps the movie on its bumpy track.

A humanist narrative about family, faith, and grief, ‘Acreage’ is an intimate film with few outsized dramatic moments, but as anchored by Amy Ryan’s mannered yet commanding performance—her finest in years—this lovely little story sensitively absorbs.

Visually dazzling, but dispassionate and hollow, the film often looks impressive, with some incredible action sequences to boot, but otherwise keeps the viewer at a considerable distance.