William Bibbiani

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.

There is a scene in 'The Exorcist' where the soul of Regan MacNeil writes 'Help me' in her own flesh, begging someone to save her from an exploitative entity. I suspect if you look closely enough at Green’s film you can see the soul of 'The Exorcist' crying out the same way.

Greutert’s film brings back the core elements that made these movies work. It’s an uncomplicated, effective horror thriller, even though it’s trapped itself in the past with nowhere else to go.

The problem with describing a movie like The Nun II is that its many inane moments sound entertaining when you list them all on one page, but they’re so spread out through this movie that the entertainment is usually quite scarce.

While “Aliens Abducted My Parents” can be a little rote, its greatest function isn’t as a delivery system for drama, or humor, or even coming-of-age clichés. This is one of those movies about young people where, regardless of whether you like it or find it a little bland, you’re grateful that it introduced you to these cast members.

The Equalizer 3 is a remarkably stylish entry in the series, elevating a barebones story with Washington’s gravitas and Richardson’s uncanny cinematography. All things being equal(ized), it’s a relatively satisfying thriller.

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.

Tucked safely away from most of the cinematic universe shenanigans, Blue Beetle is a self-contained and smartly crafted film that ranks among the DCEU’s very best. Even though, admittedly, that doesn’t say nearly as much as it ought to.

It’s hard to imagine a film with less strength of conviction than The Flash, a time travel movie about why it’s bad to retcon the past, but which exists entirely to convince the audience that retconning the past, present and (potentially) the future of the DC superhero franchise is a super cool thing to do.

It’s a triumph of maximalist filmmaking, using in-your-face techniques to craft a gigantically intimate story. A wonder to behold, a shock to the senses, a thrill to one and all.