William Bibbiani

Goodbye June is just hyperemotional tourism. We’re lookie-loos popping our heads in for the saddest moment in this family’s lives. We don’t even get to know them very well.

A slapdash effort from an otherwise great artist.

Beast is a toothsome survival thriller, competently crafted and engagingly realized. There are far worse ways to spend 93 minutes in a movie theater, but audiences hankering for something with some actual substance may be left feeling hungry on mane.

As a scary movie, 'The Conjuring: Last Rites' is a generic film, neither good nor bad. It’s practically begging audiences to judge it on a 'pass/fail' basis. As the conclusion of the 'Conjuring' series, it’s a little more successful, but not much.

Sincere but uneven, professionally acted but amateurishly presented — there’s a lot to like about Family Squares, but there’s always something getting in the way of its intended impact.

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.

The fourth best animated Lord of the Rings feature, which sounds pretty good until you remember there are only four of them.

The film’s failure to modulate its tone, its intensity and its messaging makes it a dreary, one-note production.

A heartwarming, horrifically violent homage to the most lovable dreck ever produced outside of the studio system.

Strays is trying to be offensive, and at some point it’ll probably hit your gag reflex (your mileage might vary on when), but it’s also very funny and, in its odd and exceptionally crude way, kinda sweet.

The First Purge completely earns its action-packed and rousing finale, but getting there certainly takes a while.

If you can accept the fact that it’s big, silly and brainless, and nowhere near as good as its obvious influences, and also that it’s shameless propaganda, it’s still possible to have a good time.

A potpourri of general genre genericness, never making enough noise to rattle, or even produce an echo.

It’s immediate and specific and painful and impressive.

Everything’s Going to Be Great understands the hopeless can-do spirit of not quite getting there but coming close enough that you’ll never, ever give up.

Whether Terminator: Dark Fate is the last chapter in this story or the first in an all-new franchise is, for now, irrelevant. The film works either way, bringing the tale of the first two films to a satisfying conclusion while reintroducing the classic storyline, in exciting new ways, to an excited new audience. It’s a breathtaking blockbuster, and a welcome return to form.

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

It may be odd and insular, but it’s very much intentional. Even the heavy-handedness feels genuine.

It’s easy to forgive cheap aesthetics and a rushed finale when the middle of the flick, the sharktastic bloodletting where no character is safe, is such a hoot.

Alita: Battle Angel is Robert Rodriguez’s best film in many years. It’s an ambitious, impressive, visually spectacular production with great performances that make its strange world seem real.

If all you want is another Beverly Hills Cop, here it is. If you want a great new Beverly Hills Cop, keep waiting.

The scares are ridiculous, the plot makes no sense, and you’ll probably spend the whole running time wishing someone would spill a drink on their keyboard and erase the movie's hard drive.

The cynicism of Donnybrook is overpowering, but unfocused. It’s easy to see why some people would react strongly to its ugly tale of misery and violence, and yet without context and contrast, without making statements beyond “the world sure does suck,” Sutton’s film feels frustratingly hollow. It makes an impact but leaves no impression.

The original Aladdin was an innovative motion picture, heralding a new era of CG-assisted animation and celebrity stunt-casting. It was bold and exciting. The remake rehashes the original in a pleasing but perfunctory way.

The Forever Purge sometimes loses its focus, but at its best, it’s still a riveting, violent, disturbing projection of how far America could backslide into the nation’s worst impulses.

Audiences looking for quality stories about faith and patriotism will find Indivisible to be a thoughtful and satisfying motion picture. Although it never reaches the emotional and cinematic zeniths that might make it great, it does what it sets out to do, by offering hope and guidance to audience members who need it. And that’s kinda great in itself.

I guess when you take something that works and make it work slightly less, it still kinda works.

The Amazing Maurice just has a frustrating way of making smart ideas seem uninspired and funny jokes not funny. It’s all in the execution, and the executioner has their hood on backwards and keeps swinging the axe anyway.