Get our your handkerchiefs for this live-action take from Italy on the Disney animated classic, starring Oscar winner Roberto Benigni as Geppetto, the woodcutter who builds a puppet to replace the son he never had.

As actor, screenwriter and dynamite debuting director, a seriously funny B.J. Novak takes aim at an America broken by disconnection. He doesn’t always hit his target, but when he does this tale of a New York liberal battling Texas gun nuts comes alive with mirth and menace.

Sometimes a shamelessly retro wartime romance is all the escape you need and Colin Firth and Matthew Macfadyen add class and wicked humor to this fact-based WW2 spy thriller about how British intelligence used a corpse to put one over on Hitler.

With the male need to control women hitting a new flashpoint, Alex Garland’s provocation is fired by urgency as the extraordinary Jessie Buckley stars as a widow threatened on all sides by toxic masculinity. Garland is stingy with answers, but his implications are incendiary.

It’s the same old tornado twaddle, but the destructive power of weather has never been more timely, the sparking star charisma of Glen Powell never more evident and the tenderness director Lee Isaac Chung shows for the land and its people never more appreciated.

A riveting Anna Kendrick brings her own experience with a psychologically abusive relationship to this tale of a young woman who learns to stand her non-violent ground against a male predator through female friendship. The result is quietly devastating.

This expertly-done B movie plunges breakout star Meghann Fahy into one of the scariest situations ever—a first date. The dude (Brandon Sklenar) is a charmer, yet her phone keeps buzzing with text messages to kill him. Hang on for a nerve-jangling ride.

Even though the ending fizzles out, the star power of Julianne Moore and Sebastian Stan turns this tale of con artists on the hustle among Manhattan one-percenters into a sleek, sexy sophisticated thriller with twists that won’t quit.

This French bonbon, Woody Allen’s best reviewed film in years, is no career landmark. But its blend of humor and homicide shows Allen, 88, still moving forward, creating the kind of film he made his name on, the kind that makes you laugh till it hurts. And that's a stroke of luck indeed

The seventh chapter in the creepy-crawly franchise shamelessly feeds off the DNA of the first two sci-fi space classics. But new director Fede Alvarez dishes out serviceable funhouse horrors with the gory enthusiasm of the alien fanboy he most truly is.

Baz Luhrmann’s bejeweled battering ram of a biopic is all over the place, which can be distracting, but the grit and grace of Austin Butler’s performance as The King is a thing of beauty. A star is born right here.

Even when it goes off the rails, this epic take on the notorious French emperor boasts state-of-the-art battle scenes from master tactician Ridley Scott, 85, and a big acting swing from Joaquin Phoenix in a beast of a role that will keep you riveted.

For all its backsliding into bleak—what’s with torturing Bradley Cooper’s talking raccoon—this spirited summer kickoff delivers the requisite thrill ride and ends the GOTG trilogy with the sweet sorrow of saying goodbye to Star Lord and his wacky space dorks. It’s been a trip.

A qualified thumbs up for this sequel that can’t match the Oscar-winning best picture that spawned it, but the crowd will roar nonetheless thanks to expert razzle-dazzle from director Ridley Scott and a sensational, scene-stealing Denzel Washington as a villain worth cheering.

Bob Odenkirk aces his first role as an action star in this wild, twisty ride. He’s such a canny, captivating actor that even when the plot gets silly you're willing to follow him anywhere.

Oscar winner Emma Stone teams up again with her Poor Things ’director Yorgos Lanthimos for a mesmerizing mindteaser, costarring a fabulous Jesse Plemons, that tells three stories that you can’t stop thinking about as they entertain and exasperate.

Way better than you may have heard, this mesmerizing look at young Donald Trump (a sensational Sebastian Stan) and his legal dark prince Roy Cohn (a dynamite Jeremy Strong) provides funny and scary insights into the ego Trump developed to rule the world.

Technically amazing but conceptually old-hat, this sci-fi epic from Gareth Edwards makes a case for artificial intelligence through a bond between a protective human (John David Washington) and a dangerous human simulant packaged as an insanely adorable six-year-old girl. Discuss

It's frustrating that a movie about a woman who dares so much has a script that dares so little. But Annette Bening’s body-and-soul acting as marathon swimmer Diana Nyad and Jodie Foster’s brilliance as her dynamo of a coach will have you cheering.

The second film continuation of the Brit series knows it’s old-hat and out of touch. But it’s also comforting fan service and if you can shut out the real world in favor of a fantasy remembrance of things past, you’re in for a treat.

M. Night Shyamalan can be too fuzzy, earnest and full of himself. But this doomsday thriller starring a never-better Dave Bautista as a modern horseman of the apocalypse confirms that the Sixth Sense maestro knows how to fill the screen with tension and squeeze.

With its pokey pace broken by bursts of violence and racial tension, the end of Paul Schrader’s man-in-a-room trilogy falls short of the master’s peak. But this mesmerizer is the work of a true film artist continually striving to connect his tortured soul to ours.

Viggo Mortensen scores a standout directing debut, showing the artful sensitivity and offbeat humor that define him as an actor with this heart-piercing drama in which he stars as a gay son coping with the dementia of his racist father (a career-best Lance Henriksen).

Damn the cliches! Kevin Costner lends star power to this high-tension thriller, but even he can't match the wallop of seeing Diane Lane and Lesley Manville in action as mothers pushed to the limit.

Angelina Jolie fires up the best actress Oscar race as opera legend Maria Callas, but director Pablo Larraín's muffled cinematic take on the prima donna’s last days commits the cardinal sin that Callas never did as an artist by leaving us on the outside looking in.

You’ll either love it or hate it as director Ari Aster tasks Joaquin Phoenix with his most challenging role yet: a total loser just trying to get home to his mama (Patti LuPone). It’s not for everyone, except audiences starved for originality in copycat Hollywood.

Director Kenneth Branagh again stars as Agatha Christie’s preening detective Hercule Poirot, moving Dame Agatha’s mystery from London to Venice and into the land of the supernatural. This all-star (yay Tina Fey!), wickedly entertaining shakeup does them both proud.

It’s been 18 years between ‘Matrix’ sequels, but beneath the action chaos of warring computer codes are Keanu Reeves as Neo and Carrie-Anne Moss as Trinity, proving that they’re still romantic icons of timeless cool in a movie that’s a stone-cold trip. Wowza!

Sigourney Weaver deserves awards attention for turning what could have been a cliched dramedy about a real-estate agent, who’s also a functioning alcoholic, into something funny, touching and vital. And cheers to Kevin Kline as the dazed dude who loves her.

We’ve waited 36 years for this sequel and despite some rough plot patches, Michael Keaton returns in peak form to the funniest role of his career as the trickster demon who’s determined to let his freak flag fly. The Juice is loose, babe. Act accordingly.

There’s nothing new about this queer romance between a president’s son and a prince of England except the way it skips the sorrow to favor the joy. Wishful thinking? Maybe. But for audiences eager to connect instead of divide at the movies, it's about time.

Ryan Reynolds piles on the charm as a bland bank teller who discovers he’s just a pixelated extra in a violent video game. The comedy could have been sharper, spikier and riskier—like ‘The Truman Show’— but this summer funfest goes down easy, even for non-gamers.

Theo James plays twin brothers on the run from a toy monkey with blood-splattering murder on its mind. Director Oz Perkins doesn’t disappoint with his ferociously funny take on Stephen King’s short story even if he never reaches the horror heights.

For all its imperfections and borrowed horror inspirations, this cheeky romcom scarefest is still one movie Valentine that delivers the goods for shudders and cuddles.

There's about an hour of terrific movie in this love-hate look at lurid Old Hollywood. Too bad it’s trapped in three hours plus of self-indulgent bloat. Even the starshine of Margot Robbie and Brad Pitt dims as director Damien Chazelle rabidly bites the hand that feeds him.

Beauty can be an ugly business so it’s too bad this tense, fitfully funny satire about vanity scammers only goes skin deep. But it’s all flowers for Elizabeth Banks who is sheer bonkers perfection as a cosmetics control freak losing control.

So what if star and co-director Channing Tatum lays on the sniffles in this tale of an Army Ranger and a K9 warrior named Lulu, who steals every scene she's in. They’re both PTSD-scarred combat veterans who try to heal each other and they hit you like a shot in the heart.

This by-the-numbers Aretha Franklin biopic is all about Jennifer Hudson doing Aretha proud. And does she ever. As the legendary Queen of Soul, Hudson does not, will not, cannot hit a wrong note, creating a respectful tribute to both their radiant talents.

The thrills in the first Latino superhero epic from DC Comics are mostly generic but the personal relationships between protagonist Jaime Reyes (a charming Xolo Maridueña) and his irresistibly rowdy and resilient relatives make all the difference. Viva la familia!

Love it or loathe it—there’s no in between—Emerald Fennell’s deliciously depraved takedown of the upper classes keeps you glued to Barry Keoghan as a poorboy driven to madness and worse by a rich Adonis (Jacob Elordi) and his sweetly vampiric mom (an Oscar-ready Rosamund Pike).

Jason Reitman energetically tracks the lead-up to the first episode of SNL in 1975, but the result is only fitfully funny, leaving the cast struggling to register. Best in show are Dylan O'Brien as Dan Aykroyd, Cory Michael Smith as Chevy Chase and Nicholas Braun in a surprise dual role.

This all-over-the-place, all-silly, all-star (Bullock, Tatum, Radcliffe, Pitt) throwback to 1980’s escapism—think “Romancing the Stone”—radiates such a puppy-dog eagerness to please that you want to pet it instead of pointing out its faults.

The return of Benedict Cumberbatch to the world of Strange may seem chaotic madness to the uninitiated, but it’s thrilling to see livewire director Sam Raimi breathe hilarity and juicy horror into the Marvel formula that so needed a shakeup. This is it.

There's nothing ground-breaking about this backstage murder mystery in 1953 London. Dig under the froth and you'll only find more froth. But thanks to the inspired lunacy of Rockwell and Ronan, it's a wicked fun whodunit that goes down easy.

The jokes are repetitive and the action is strictly formula, but the old-school star power of George Clooney and Brad Pitt having a laugh as lone wolf fixers stuck working the same job in New York gets by on the pleasure of their company.

This big-screen prequel to ‘The Sopranos,’ with a touching Michael Gandolfini playing the teen version of the role created by his late father, is good, but not good enough to score as a great mob epic in its own right.

Way fiercer and funnier than a fourth sequel has any right to be. Here's ‘Scream’ for a new generation – so self-aware that it mocks itself for relying on borrowed inspiration (the 1996 Wes Craven original) while squeezing the golden goose for one last payoff.

More trifling lark than a new Pixar landmark, this toon hits the sweet spot as the story of astronaut Buzz Lightyear before he became a toy. Chris Evans voices the Buzz bluster, but it's breakthrough star Sox the cat who steals scenes to infinity and beyond.

Brendan Fraser is on the march to Oscar. That's how astonishing his acting is as a morbidly obese recluse in this deeply moving character study. Accusations that wearing a fatsuit diminishes his tour de force performances are nonsense. This is essential viewin

As a blunt-force Oklahoma oil rigger trying to save his daughter jailed in France for murder, Matt Damon gives an indelible, implosive performance in a deeply personal human drama disguised as a crime thriller.

You'd have to be a real Grinch to hate on a blockbuster sequelthat's so puppy-eager to please. But despite the fem power of star Gal Gadot and director Patty Jenkins, all the CGI huffing and puffing over 2 1/2 hours can deflate momentum and audience endurance..

This romantic fantasy from visionary director George Miller is all over the place structurally, but odds are you won't be too bothered given the sparks ignited by Tilda Swinton and Idris Elba as a magical djinn hellbent on granting her three wishes.

Amid the jumble of fake Italian accents and overall too-muchness, an Oscar-ready Lady Gaga is flat-out fabulous. Is this ravishing soap opera of high fashion and higher crimes outrageous camp or “The Godfather” in designer duds? I’m calling a tossup.

Sorkin distills what made Lucille Ball a comedy legend and a prickly feminist pioneer into one tumultuous week of production on “I Love Lucy.” As for those who thought Kidman would be all wrong as the fiery redhead, won’t you be surprised—she’s all-stops-out fabulous.

Forgive the exposition dump in the convoluted plot and go for a clash of the titans that is spectacular in every sense of the word.

This R-rated sex farce only plays at being dirty. Behind the carnal jokes lurks a Hallmark heart. But a never-friskier or funnier Lawrence, as a 30-ish Uber driver hired to seduce a college-bound kid (terrific newcomer Feldman) is well worth the price of admission. The rest gets a hard pass.

Angelina Jolie, back in action mode as a haunted smokejumper seeking redemption, gets the job done if you’re looking for action escapism, but those who wish for something deeper and more resonant are plum out of luck.

While it can’t match the effortless charm of the 1989 animated classic, this faint but overstuffed live-action echo fills the title role with shining new star Halle Bailey who gives this musical fable just the oomph it needs—a heart that sings and a spirit that soars.

Two Oscar-winning Emmas—Stone and Thompson—are dressed to wow and deliver much to enjoy in this beautifully crafted fluffball, but the end result is a decorative distraction that never runs the risks it promises.

The tragic loss of RBG, makes this biopic of women’s-rights icon Gloria Steinem more relevant than ever. It took Julianne Moore and three other actresses to play this feminist trailblazer through the ages and they all do her proud.

As usual the plot is stupid beyond saving, but the vehicular action is insanely entertaining. That’s a fair tradeoff for the adrenaline junkie in all of us who only wants Vroom cranked up to 11. Consider it done.

It’s frustrating that this immense, immersive true-crime story has been squeezed into a two-hour movie instead of a miniseries about the two women reporters—superbly played by Keira Knightley and Carrie Coon—who broke a notorious case the police could not.

All the actors excel at helping director-star Clooney turn this apocalyptic thriller into something more thoughtful than sci-fi flashy, especially the grace note of hope that speaks with heartfelt relevance to these pandemic times.

This meandering neo-western is far from classic Eastwood. But Eastwood, at 91, is still classic in every sense of the word.

Mean tweets 1920 version: The incomparable Olivia Colman and Jessie Buckley turn a flimsy script about poison pen letters that turn friends against each other into irresistible fun. Any resemblance to today’s internet trolling is purely intentional.

Ignore the many problems in this violent revenge thriller and focus on the power and charisma of Denzel Washington who ends the third and final chapter in his Equalizer trilogy on a euphoric high. He’s a star, baby, and him you don’t want to miss.

Sebastian Stan, the Winter Soldier himself, shows he can turn up the heat with costar Denise Gough for a romcom romp in Greece that starts on a sexy, swooshing high before draining out the fun for dramatic insights that never come. Bummer.

The fifth and final chapter for our whip-cracking archaeologist suffers from the absence of Steven Spielberg and a workable script, but Harrison Ford—80 and still working deep and true—makes sure that Indy goes out in blaze of glory. One word: Respect.

Star Jake Gyllenhaal and director Doug Liman huff and puff to reimagine the bawdy B-movie punch of the 1989 original with Patrick Swayze, but despite putting a fresh coat of paint on this rickety old jalopy, there’s still nothing under the hood.

It’s barely half as funny, fierce, romantic and thrilling as 2017's incomparable Thor: Ragnarok, but director Taika Waititi and sweetly self-mocking star Chris Hemsworth get such goofball jollies sending up the usual Marvel bloat that resistance is futile.

This Minions prequel would have to go some to make it as flimsy, but Steve Carell is pricelessly funny doing the voice of a pre-teen wannabe villain wrangling an army of goggle-wearing little buggers and you could do worse in a search for animated family fun

Amy Adams excels as a stay-at-home mom going so crazy in confinement that she turns into a feral dog in protest. It’s a daring idea until the script chickens out as a ferocious feminist fable and sinks into cotton-candy quicksand. Bummer

Is it a great movie? Nah. It's too slick a Marvel package for that, with surprisingly meh special effects and an energy that’s more desperation than inspiration. But stars Ryan Reynolds and Hugh Jackman are willing to bust a gut to make you laugh. So there’s that.

Anything for Halloween? You bet. Lock up the children—the Sanderson Sisters are back in a bewitching sequel that returns Bette Midler, Sarah Jessica Parker and Kathy Najimy to the roles they created in 1993 just in time to put a funny-scary spell on you.

Ethan Coen’s lesbian road movie, cowritten with his wife Tricia Cooke who identifies as queer, is raucously funny when it doesn’t go slack and make you wish he’d reunite soonest with his sibling Joel for a bit of the old Coen brothers magic that fails to materialize here.

Inside this manic jumble about a family of prehistoric ‘Flintstones’ knockoffs lies a brightly animated bauble that speaks to the power of staying connected even when forced apart. Pretty good for a cartoon, especially during a pandemic.

Only glints of the old whiplash magic remain in chapter 10 as thrills give way to thudding formula and paycheck acting—not you Jason Momoa—that slow down the action to forge the limping runt of the F&F litter.

Christian Bale tries to solve a murder at West Point, circa 1830, with the help of young cadet Edgar Allen Poe (Harry Melling). But what should be a gothic mesmerizer ends up a dreary exercise to doom and gloom that’s an endurance test for audiences.

Even with Spider-man Tom Holland and new Batman Robert Pattinson in the leads, this violent tale of backwoods sin and corruption suffers from a severe case of too-muchness.

Shot with a poet's eye and a tin ear for dialogue, this tricked-up thriller about the horror of getting old too fast brings out the best and worst in M. Knight Shyamalan by throwing a wet beach blanket on a Covid-resonant premise about sudden death and the collapse of time.

If long, loud and ludicrous is your kind of movie escapism, check out director Michael Bay’s latest shot of adrenalized, de-humanized filmmaking as a psycho bank robber (Jake Gyllenhaal) commandeers an ambulance as a getaway car. Entertaining? Exhausting is more like it.

The mostly improvised drama about a trans man reuniting with his family can feel clumsy and contrived, but it soars on waves of raw feeling thanks to the deeply felt, deeply moving performance of Elliot Page in a role he wears like a second skin.

With so little to show for its staggering ambition to synthesize modern New York with the fall of the Roman Empire, Francis Ford Coppola's all-star, self-financed passion project is a mess, but the lion who made it is still roaring, even in winter.

Mad trippy or catastrophic? This DC superhero epic is actually a mix of both, dragged down by exhausting multiverse hopping but flashy fun on the wings of captivating star Ezra Miller and the grumpy comic perfection of Michael Keaton as a Batman on the ropes.

Are you ready to party? Here's the musical blast we need right now to cure our pandemic blues. Corny? You bet. But an all-star cast, led by Streep, Kidman and Corden, wears its unruly heart on its sleeve as Ryan’s Murphy’s plea for tolerance sings, dances and laughs our troubles away.

Firing up the Oscar race for Best Actress, a virtuoso Jessica Chastain raises up this formula biopic about televangelist Tammy Faye Bakker by redeeming her reputation as a cultural joke in clown makeup and finding the soul beneath the sparkle.

Ryan Reynolds leads an A-list cast in this ‘Back to the Future’ nostalgia trip that coasts down well-worn roads instead of paving new ones with fresh imagination. But there are still laughs and tears to be had this cynicism-free throwback to ‘80s family entertainment.

Think of it as Jaws on Safari and you'll have some idea what to expect from this generic thrill machine that requires Idris Elba to look great (he does) while doing battle with a digital lion.

The fourth round for Will Smith and Martin Lawrence isn’t a bad movie, really, just another mediocrity trying to cash in on what came before, the kind of money grab that’s killing movies by serving leftovers as the main course. Resist, people, before it's too late.

A stirring true story about the triumph of an eight-man rowing crew at the 1936 Olympics fits right into director George Clooney’s old-fashioned love for underdogs, but the exciting races are muted by thinly developed personal dramas that feel pokey and predictable.

Though this horror sequel about a coven of teen witches wastes time on delivering scares instead of developing character, the feminist fire of filmmaker Zoe Lister-Jones sees to it that there’s more here than a Halloween throwaway.

A bear does cocaine and kills people. That’s it. Director Elizabeth Banks revels in deliciously cheap thrills, but then treats her overqualified actors (Keri Russell, the late Ray Liotta) like bear chewtoys while the overcrowded script drifts into hibernation.

It’s a risk doing a prequel to this hit film franchise without the power surge of star Jennifer Lawrence and the safe and sorry result, set 64 years before Lawrence's Katniss Everdeen ever drew breath, is seriously overlong and underwhelming.

Despite widening gaps of logic in its slow-burn mystery plot, this twisty, killer-on-the-loose, dark-night-of-the-soul thriller features top turns from Denzel Washington and Rami Malek as L.A. cops chasing a psycho, played by a scary and diabolically funny Jared Leto.

Michael Keaton’s second go as star and director stumbles but rises again on the strength of Keaton’s ability to bring his bristling intelligence as an actor to his work behind camera in this darkly comic film noir about an L.A. hitman losing a fraught battle with dementia.

Fighting their way out of the flowery tearjerking in the film version of Colleen Hoover’s mega-bestseller are a timely movie and a stellar Blake Lively performance that both take measure of domestic violence and the women who get to decide when enough is enough.

Eddie Murphy is 63 now and sometimes the jokes seem just as retirement ready, but seeing the this comic legend return to the cop role he created four decades ago—along with many of the old gang— at least squeaks by as primo fan service.

After the infamous slap that sidelined his career, Will Smith returns as a runaway slave in a sorry but noble misfire that offers the disgraced actor pitifully few chances to bring dimension to a real-life character the script traps in a swamp of misery-porn cliches.