William Bibbiani

Krasinski’s film is a vague celebration of imagination and wonder, but it can’t imagine a world that makes sense or entertains, and that’s just not wonderful.

Ryusuke Hamaguchi is an expert at crafting films that subtly enthrall our minds, and this is just more proof.

It reaches inside your imagination and stirs it around, making new connections between familiar concepts. It’s not just great, it’s fascinating and revelatory.

It’s a horror movie for people who want to watch a scary movie but are hanging out with someone who gets scared very easily, and so they decide to compromise. Not too scary, not too silly, not much of anything really, but not much to complain about either.

If you thought Jerry Seinfeld’s funniest moments were in his American Express ads, then Unfrosted is the film for you.

A hodgepodge of exuberant stylistic flourishes and pop culture references, and while it’s often briefly entertaining, it’s never consistently anything except manic.

Even if a superior version of 'Rebel Moon' does come out eventually, that doesn’t make these versions any better, and they’re the only versions we have right now. They’re both shallow and generic space operas, distractingly derivative of better films while adding very little to the mix.

Bettinelli-Olpin and Gillett’s latest film sharply combines multiple genres and tropes — a few of which are an actual surprise — and sculpts them into a bloody blast of a movie. Literally.

It’s a larger than life World War II thriller in the Guy Ritchie house style, and he strikes a fine, fun balance between the threat that the Nazis posed and the thrill of watching hunky heroes slaughter them at great length, then chuckle and smoke cigarettes and call each other 'old boy' about 50 million times.

Tells the story of Amy Winehouse but shows no passion in telling it and has nothing to say about the events that transpire. It’s the utter minimum of what a biopic can be.

It’s filtering Vera Drew’s autobiographical story through the lens of contemporary popular culture, transforming her own life into myth while transforming corporatized IP into punk rock anarchy.

The new movie’s twists can only exist if they don’t contradict the previous films, so only a few surprises are even possible and those surprises can only happen in unsurprising ways.

It’s no small compliment to say that 'Godzilla x Kong: The New Empire' is expertly crafted drivel.

What it lacks in intelligence it makes up for with good vibes and great casting.

It takes a farcical premise and tries to find something meaningful to say about it. It doesn’t succeed, but the effort is worth analyzing.

There’s an argument to be made, and I’m willing to make it, that Kung Fu Panda 4 is the best film in this series.

This journey is more than just worthwhile. It’s powerful and it’s a joy.

Kaphar brings something special, narratively raw, but thematically refined to his first feature.

An intimate and sensual and highly forking successful debut from Amrou Al-Kadhi.

For a debut documentary filmmaker the former 'Xena: Warrior Princess' star makes tough choices and makes them boldly, and her film is more complicated and engrossing for it.

An audacious film that completely obliterates the expectations of the musical biopic genre.

100% pure Statham, and after many years where audiences had to settle for the diluted variety it’s a welcome return to form.

It just never goes far enough with its ridiculousness to reach pure entertainment, and it certainly can’t be taken seriously enough to justify its melodrama.

Exactly the kind of insipid malarky superhero movies spent the last few decades trying to prove that they’re not.

It is simply what it is, and that is a hugely expensive but uninspired “Star Wars” knockoff with some thrilling action sequences, and some truly ugly moments that taint the entire thing.

Admittedly, it’s pretty easy to consume Wonka. After all, it’s just a piece of candy. But it’s the kind of candy that would make Willy Wonka sick to his stomach. Wonka is the sort of safe and corporate product that the hero of Wonka says we shouldn’t settle for.

The film can’t decide if it wants to be truly bizarre, which is when it’s funniest, or simple and sweet, when it’s the most dramatically effective. These aren’t the worst problems for a movie to have.

When 'The Banana Splits Movie' got there first, and did it slightly better, you’re in trouble.