Will Ashton

Never afraid to show off its bloody fangs, yet careful to cut beyond the skin before its savage, stirring final strike, It Comes At Night is a remarkable, terror-filled invasion.

An inspired, spellbinding, wonderfully-realized tale and a dazzling, visually/morally beautiful treat for the eyes, ears, heart and soul that richly weaves an all-inclusive journey based in culture, heritage, friendship and self-importance.

Paul King‘s marvellously rousing, deeply satisfying sequel — is not only another warm, friendly, massively good-natured family-friendly film, but it’s deeply caring, here to give everyone a light and entertaining diversion during these taxing times.

Likable, heartfelt and sweet in all the right places, Stoller and co-director Doug Sweetland have put together a charming surprise that’s as joyful and friendly as it is funny and well-meaning.

Landon uses this winning sequel opportunity to not merely redo his refreshingly animated original film but challenge it— building upon its kooky, evergreen foundation and expand the story in scope, scale, genre, and tone.

Blockers is the kind of movie that Hollywood typically gets wrong. They make it too crude or too wild or too inconsiderate. Thankfully, Blockers is an unexpected triumph, even if it’s not quite as great as it could’ve been.

Both Brent and Gervais give this “one last push” all the love, commitment, determination and fool-hearted dedication they can muster, and it’s good that at least one can come out on top even while the other clings to the bottom.

Game Night is a winner, plain and simple. Brisk and engaging (and surprisingly powered by a score from Cliff Martinez that’s expectedly great), this is a comedy that’s worth rolling the dice on.

Armed with commanding performances, striking cinematography and exceptionally well-calibrated direction, The Wall is a haunting, engrossing death march, one that’s not entirely original but also not easy to shake.

The Infiltrator is ultimately a solid, if not exceptional, Scorsese takeoff, one that has just enough spunk and wit to make up for its often-apparent shortcomings.

Bridget Jones’s Baby is not a game-changer, but that’s not what it sets out to be. It’s a goodnatured, accessible, persistently endearing matinee, and sometimes it’s nice to be won over by simple sincerity and commercial likeability.

Shin Godzilla ushers in a new age for Godzilla, and a welcome one at that. It’s not perfect, but it’s ready to ask big questions and also demand thoughtful answers. In that sense, it’s one of the most valuable Godzilla movies to come along in years, decades even.

With a filmography as curiously inconsistent as Collet-Serra’s, The Commuter is a wild, mostly entertaining combination of the director’s general bag of tricks. It’s over-the-top and fun, even if in its own fleeting way, and by the time you reached your location, you don’t feel swindled.

As a world-building exercise, Fantastic Beasts often succeeds. It’s charming, playful and welcoming in ways these movies haven’t been since the first two installments, and the patchiness of the plot is often forgiven because these characters are likable, rather affable, and well-cast.

There’s no shortage of “Goodfellas” wannabes out there, but American Made is a serviceably entertaining one with consistent action and hearty chuckles along the way.

Through intimate access, personalized interviews and mostly sympathetic portrayals of select people inside the White House, Barker isn’t trying to be objective.

Wonder promotes the benefits of human decency in a time when those virtues feel limited, and wins you over by being a pretty good film about being good — and that’s good enough for it to work.

With its sensational production designs, lavish costumes and Grant providing one of his best performances in years (if not one of his best performances ever), Florence Foster Jenkins is appealing if ultimately slight.

As inviting as it is immersive and convivial, Nerve is bumpy, sloppy and rather unsophisticated, but it’s also ultimately sociable, warm, endearing and, most of all, pretty fun.

Through its fine performances, considerate direction and character-focused writing, Only the Brave goes above your average biopic to present something that’s poignant and endearingly familiar, letting Kosinski provide that hard-wrought emotional impact lost in his previous films, while still allowing him to showcase his talents for visuals and location.

Too mediocre to become a new classic, it’s easy to be dismissive of the film’s cheap pleasures, but through its good heart and giving spirit, The Man Who Invented Christmas does, in part, capture what makes the holiday season such a joyous time.

It’s an unexpectedly winning film, and even when you’re ready to write it off, it offers surprises that keeps you engaged. “Quirky,” “cute,” and “weird” may be overused adjectives, but sometimes those words fit, and sometimes those tropes do work well.

As beautiful as the picture is, the pleasures of Early Man are fleeting. Aardman’s own high bar isn’t quite reached this time around, and it might be best to temper your expectations.

Gudegast does provide a good amount of grimy atmosphere to his L.A. setting, and the action sequences keep you involved even as the running time starts to get gruelling. But, at 140 minutes, Den of Thieves gets too caught up in its own indulgences, and that’s a crime it can’t escape.

Lacking real zest or fun, it’s a middling effort, if one with ample heart and good intentions, that happens to star two actors who can rise to the occasion when necessary. Working together, it’s a shame that they serve both as this frustratingly mediocre comedy’s most reliable pleasure and most consistent disappointment.

One should applaud Diesel and Caruso for breathing unexpected energy into what could’ve been another lame, uninspired continuation. It’s wild, loud and totally out of control, and that’s periodically a pretty good thing.

Never quite fun enough for kids or teens, but also unlikely to appeal to loyal fans, Power Rangers feels like a film that’s not quite finished morphing into its true form.

Peter Rabbit isn’t without its odd delights, and while it won’t serve as the definitive version of Potter’s adoring, timeless creation, Gluck’s film may find a way to burrow into your heart.